Acclaimed UK electronic music producer, DMX Krewhas announced a brand new album, 'UnlikelySeeming', on the Byrd Out label out on 3rd May. The8-track album showcases his blend of joyous,melodic synth hooks, textured pads and analoguedrum machine rhythms. Leaving to one sidepummeling sounds, the focus of this album is onsonic fun, mining the 80s pop vibe DMX Krew doesso well. BBC 6 Music's Tom Ravenscroft describesthe trailing single 'Wednesday Memory' as "thefunkiest thing ever ... it's almost too joyous". Fromthe first 'A New Story', through to 'UncertainCalculation', DMX Krew delivers densely layered andsatisfying tracks, demonstrating the more imaginativeside of his output. The slight outlier is 'Continuation'which offers the most forceful 303 workout, bestsuited to a sweaty dance floor in the early hours.Overall the feel is playful, intelligent, melodic andwonderfully fun - best exemplified by multi-synthmasterpiece 'Data Cruncha' and Megadrive-esquetitle track 'Unlikely Seeming'. To finish the album,'Unlikely Seeming' is given a rework by Portland-based artist Break Mode, managing to achieve aremix that is at once ethereal and uplifting - it has4am written all over it. DMX Krew, aka EdwardUpton, has been crafting innovative electronic musicfor nearly 30 years, releasing on the likes of Rephlex,Central Processing Unit, and Gudu. With a soundrooted in synth-pop, electro, and Italo disco, DMXKrew's music evokes nostalgia for pop melodies andthe early days of rave culture


A1. A NEW STORY
A2. DATA CRUNCHA
A3. UNLIKELY SEEMING
B1
. CONTINUATION
B2. WEDNESDAY MEMORY
B3. IT'S TOMORROW


Stream: http://tinyurl.com/UnlikelySeemingSC

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There's probably no finer way for Cultivated Electronics to launch their 2021 schedule than with a new release by DMX Krew with his first solo EP outing on the label, having previously appeared for a remix of J.T.C's 'In Transit' (2014) and as MMT-8 (2016) - a collaborative project with CE's label head, Sync 24. Edward Upton has given us over 25 years of sonic wizardry with numerous highly regarded releases, not only as DMX Krew, but also a myriad of other aliases over almost as many labels, including the mighty Rephlex, as well as his own Breakin' Records and Fresh Up. On 'Overseer' he delivers four vivid and stimulating analogue cuts that are full of character, delivering high-end electro funk and glittering experimentalism.'Overseer' by DMX Krew is released on 11th January.

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Idiosyncratic producer DMX Krew offers up four playful acid-tinged tracks for the Malekko Phase Mod EP, released through eclectic Spanish label/club night/promotion agency, Fanzine Records. The vinyl-only release is the first output of 2019 for the Coruna based imprint currently celebrating their 10th anniversary and is the follow up to C44's bizarro-techno Res Publica Populi Romani EP, and Dijuma's dubby and atmospheric Cold Tracks EP

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DMX Krew returns for volume 4 of the popular Synth Funk series with another bumper pack of electro funk jams. Pure fire!!!.

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UK wave funk veteran DMX Krew returns to Abstract Forms with his latest double album project. Escape-MCP features 13 tracks of synth drenched electro and elastic techno grooves drawing inspiration from a 1983 computer game where the player is trapped inside a computer by a rogue processor. Fortunately DMX Krew isn't trapped inside a computer and is still with us making killer grooves. Don't sleep!

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After landing his malfunctioning PX-4000 on the purple planet, Captain DMX steps out of the smoldering cockpit. After barely setting foot on the dusty landscape, the Captain is startled by deep thudding from over the hills. Dragging his oxygen pack with one hand and his atomizer with the other, he sets off in search of the other-wordly din. Over the hill his pupils adjust to the stroboscopic lightning and below him lies a sea of strange creatures moving together as one body. A cosmic sermon takes place under the three suns in the sky, mechanical and stuttered frequencies set a manic pace and drive the dark creatures back and forth. Captain DMX sighs a heavy breath and starts to descend into the fray.

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Two brand-new hard electro-funk jams for poplockers from label boss Ed DMX. Sure to be popular with funk and boogie revivalists as well as electro and breakdance fans. Funk Steps features a sparse, handclap-heavy beat, an arabian-style synth hook, some very greasy guitar playing and a vocoder lead vocal imploring the listener to get down and do their thing on the dancefloor. Space Fonk is an uptempo synth-funk number with squelchy synth bass, vocoder hook and live tambourine and guitar. Moogs and lazer zaps all over this one. Ed DMX continues to DJ & perform live around the world: recent bookings include Bloc Weekend, Batofar in Paris, Berghain in Berlin and many more.


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DMX Krew continues to shine on Abstract Forms new Synth Funk offshoot. Like the first EP 'Electro Worm', 'Dogg Fungk' features more old school flavours and for Volume 2 Ed gets busy with some killer synth-driven Jazz and Funk grooves.

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As the title suggests, there are many ways to jack and this EP makes no pretense about its intentions. DMX Krew treat us to a wild concoction of tracks for the fourth instalment of the now firing on all cylinders, Super Rhythm Trax label. The music here veers between grimy basement Acid trax, UK Bleep inspired future warehouse anthems and even an ultra cheeky ragga style rendition of Lil Louis' classic "Original Video Clash". Ed DMX is obviously having fun here and with 5 tracks and a loud cut, you're getting bang for your buck !! Now leave me alone to jack.


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Jamie Russell and Alex Jones set up theHypercolour imprint back in 2006 and the label continues to dish up genre bending bangers two decades down the line. For the label’s milestone 100th release, KiNKcues up a killer four track release with ‘For The People’.

One of house music’s most in demand producers and remixers, KiNK has delivered time and time again for labels such as Running Back, Royal Oak,Macro and his own Sofia Records label, and so it’s with great honour that the Bulgarian artist commemorates the label’s centenary with a kaleidoscopic bundle of hyperactive bangers!

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At the very coalface of the UK rave/breakbeat/techno/call it what you like scene since the 1990s, Jerome Hill is something of a hidden treasure amongst the plethora of DJs and producers to have dropped both bangers and bloopers over the ensuing three decades. With minimum of fuss and fanfare, Hill has steered record labels like Super Rhythm Trax, Don’t, Fat Hop and Hornsey Hardcore to revered acclaim, as well as firing out a consistent stream of releases for imprints such as Matthew Herbert’s Accidental Jr, Exalt Records, and I Love Acid, to name but a few. Surprisingly, ‘Flow Mechanics’ is Hill’s debut album after a production career that kicked off in 1998 as one half of Groove Asylum. And its collection of unabashed acid and rave bangers is a perfect fit for the Hypercolour label, whose personnel over the last few years has included Luke Vibert, DMX Krew, Shelley Parker and Gary Gritness. Tracks produced directly for club play; the album features 8 cuts destined to fit in cross-genre sets. With pumping electro cuts such as ‘Deafening Lull’ and ‘Knob Jitter’, four to the floor acid stompers like ‘Walk The Plank’, the mutant garage of ‘Brought Up Badly’ and the house groover ‘Stax Had The Funk’, ‘Flow Mechanics’ is a joyous romp through rave’s sound palette, replete with playful samples and skits (featured on the vinyl LP version), and a mischievous demeanour that affords the listener an lively album that doesn’t take itself too seriously. ‘Flow Mechanics’ by Jerome Hill is available from 3rd March 2023 on Hypercolour.

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Jack Hamill’s Space Dimension Controller project has delivered some of the most enduring electronic music in recent times. Via single and album releases for the likes of Ninja Tune, Royal Oak, Dekmantel and Aus Music, SDC has thrilled with a certain timeless sound that has embodied science fiction swirling tones, glitchy and granular beats and a nostalgia for electronic music that always sounds futuristic.

On the ‘Cro2ma’ EP, SDC serves up a trio of intoxicating productions for the Hypercolour label. Highly accessible, yet detailed and intricate in design, Space Dimension Controller soaks all three tracks with sanguine melodies and bass blippy frolics that make for an exemplary release from the seasoned producer.

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Danger! Danger! High Voltage! King of bad-ass electro-funk Gary Gritness returns to Hypercolour with an electrifying release of super slick, powered up, body poppin’ jams!

Plugging into the mainline, Gritness lets rip with four bustling joints on the ‘Power Charge’ EP. Frenetic drum machine patterns, feverish bass lines and quick fingered keyboard riffs are laced across every track here, all designed to blow the circuits of your mind!

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Deeply ingrained into the fabric of the British electronic music landscape, Luke Vibert shows no sign of slowing down, after an illustrious career spanning three decades (to date!). Vibert returns to Hypercolour after 2020’s hugely successful trilogy series (Amen Andrews/Modern Rave/Rave Hop) with his 18th album (not counting albums released under his other monikers Kerrier District, Plug, Wagon Christ et al). ‘GRIT.’ finds Vibert in playful mode (and, let’s face it, whenever isn’t he!), as twelve tracks of acidic and squelching drum machine tracks come rolling out to play. Bouncy and hypnotising 303 jams of the highest order are served up here, with rhythms pulled from the electro, garage and house pools, all delivered in Vibert’s inimitable style.

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Noted for his vast and psychedelic bass heavy productions, Brighton based producer Etch pulls out four killers for the ‘Sloppy Rhythm Trax’ EP on Hypercolour.

With a pedigree that has bestowed labels like IllianTape, Sneaker Social Club, LMD SunkWorks and TempOzone with exceptional singles and albums, the man like Etch fires on all cylinders for his Hypercolour debut.

Impenetrable and heady vibes are served up on ‘Lazyville’, whilst‘ Gaia’s Mainframe’ give us some of that aforementioned psychedelic bass in spades!‘

Pluto’s Groove’ tears into jungle and d‘n’b territories, rinsing out the acid breaks vibes, whilst ‘Belladonna & The Poppies’ throws down more sub bass frequencies in a dusty and decidedly chugging EP finale.

LAURENT GARNIER
"Hummm this is twisted and so damn good"

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Following acclaimed releases on Planet Mu, Sneaker Social Club and his own imprint Raw Basics, Anthoney Hart returns with three contemporary rhythm centred rollers under his Basic Rhythm alias.

Wonked out percussion and vocal accents undulate over distorted kicks, subtly building tension in the EP title track “Pepper”.

On the flip, “3am On The Corner” takes things down tempo with broken drums and moody pads accompanied with a haunting sax melody. This eclectic release concludes with “Moonlight Flit” bringing heavy hitting percussive UK Funky energy over a deep pitching sub.

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Very much at the forefront of the UK electronic scene, since 2001, Shelley Parker has innovated and thrilled with live performances, DJ sets, sound installations, and scores for contemporary dance. Parker's recorded output is just a small part of her musical orbit. That said, a debut album 'Spurn Point' in 2014 and various singles, remixes and EPs for Hessle Audio, One Little Indie, Honest Jon's, Houndstooth, Structure Recordings and OOH-sounds have whet the appetite for more. 'Wisteria' lands on Hypercolour, and succinctly encapsulates Parker's layered and dense production aesthetic, as a myriad of concrete rhythms, breakbeat science, inner city ambience and industrial strength bass unfurl over eight uncompromising compositions.

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Hypercolour backroom boy, Ste Roberts, surfaces to the top for a long-awaited new release on the label, serving up a trio of wonky and twisted grooves on ‘The Crescent’ EP.

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Having already made a big splash on labels like Rush Hour, Ghostly, Spectral Sound and Werkdiscs, the London based producer Moire´tees up his third full length player for Hypercolour. ‘Good Times’ goes someway to pulling back a positive energy to recent global events and finds Moire´collaborating with fellow artist Demigosh on a good chunk of the album cuts. Hazy agit house and drowsy beats anchor an album filled with smooth ambience and soulful sampling. Low frequencies and foggy tones make tracks like ‘Magdan’ and ‘Vertigo’ strike a chord between lo-fi electronica and abstract ambient noise, whilst the collaborations with Demigosh add an ethereal soulful touch that’s both stirring and emotive in equal measures. Exotic beat science is deployed on cuts like ‘R1’ and ‘Telefunk’, whilst the jazzy licks and lumpy rhythms of ‘Lost In Pacific’ seal off an extraordinary album that exemplifies the advancing maturity of Moire´’s sound and vision.

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Four brand new mind melters from the creative and imaginative Alphonse. Back on Hypercolour, following 2018’s ‘Better Weather’ single, the British beat scientist pulls together more future sounds on ‘The Dark Horse’ EP.
Always spacey and dubwise in his creations, Alphonse continues a run of releases that have taken in entries for Klasse Wrecks, Black Orpheus and Emotional Especial. Breakbeats and rave tropes fly past in a blizzard of hedonistic sounds and distinctly UK flavours.

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Self-styled ‘house husband, record producer’, DMX Krew, continues his effortless stretch of releases that date back to the early 90s, with a new album for Hypercolour. His deft melodies and mechanical, electro-tinged beats have made for some classic albums in his repertoire, from his incredible run of albums for Rephlex Records, up to 2020’s ’Ghost Bubbles’ long player for Terrestrial Funk. And so ‘Loose Gears’ marks DMX Krew’s fourth album for British stalwarts, Hypercolour, and fans will not be disappointed. Armed with an arsenal of hardware, and a head full of futuristic visions, ‘Loose Gears’ collects eleven tracks of the customary quality we have come to expect from DMX Krew. From the funk laden ‘Solar Transit’ to bleepy chugger ‘Dejected Ambient Twerp’, the vibrant synths and spongy rhythms of ‘Torpedo Tube’ to the beatless wiggle of ‘Xpansion 2’, there’s much in store to be savoured on ‘Loose Gears’, as DMX Krew serves up another fine selection of electronic goodies.

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Zodiac, a new collaboration between Brendon Moeller and Monty Luke, present a heady brew of sci-fi dub and deep rhythms on a full-length album, ‘Serengeti By Night’. With meditative roots music at the very heart of ‘Serengeti’, experimental ideas are excavated over ten tracks. Vivid atmospheres are conjured up, as tribal trance, voodoo dub and otherworldly electronics are deployed over rock steady rhythms. With influences that lie in the musical endeavours of African Headcharge to Rhythm & Sound, Public Image Limited to Cybotron, Zodiac keep the flame burning for exploratory dub-leanings, and deliver an album from the space station above that administers sophisticated braindance sounds that will command repeat listens...

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Who is Boelja? Who is Sebastian Mullaert? Who are they really? Are they the finite body and a collection of thoughts? And who are you? Are you your memories or perhaps your projections of the future? Or are you this present moment? What is silence? Is it solely the absence of sound? Or are all sounds springing out of silence and falls back into the same? And what is sound without context? Is it just nonsense? Or is there something more universal to it? Where did the second vinyl go? Is it sitting in an attic or warehouse somewhere waiting to be discovered? Is it being played as you are reading this? Is all of this just a game? Are YOU being played? Did someone make this music or did the music just happen? Where does the process of creation start? Where does it end? And who is the listener? How does the listener affect the music? Is there really any separation between the creator, listener and the music? Are they all one and the same? What is next? Where is all this going?Is there an end? Or are your actions just another event happening in this never-ending stream of consciousness? And to whom is it happening?

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Whether it’s 303 basslines or those pesky little tabs of lysergic, everyone loves a Taste Of Acid. FaltyDL, being one of the many believers, delivers four cuts of A C I D for Hypercolour. Tune In, Turn On Drop Out......

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The heavy industrial crunch and rubbery synths of FRAK’s trademark sounds come to Hypercolour with the four track ‘Berga Magic’ EP. The Swedish techno trio have been active since the late 1980s, issuing cassette tapes (and later, vinyl) filled with blueprint techno and electronica on their own Börft Records label. Following in the footsteps of Severed Heads, D.A.F. and Devo, FRAK have truly embraced performance art and experimental minimalism over the years, never compromising, always innovating. The ‘Berga Magic’ EP comes brimming with raw analogue explorations and delightfully incongruous noise.

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Returning to Hypercolour with the ‘Persona Non Grata’ EP, Mor Elian continues to flourish with four killer cuts of electro and techno infused goodness. Following 2016’s “Drum Vortex” EP, Elian has clocked up superb releases for Delta Funktionen’s Radio Matrix label, Delft and her very own Fever AM imprint. On the ‘Persona Non Grata’, Elian serves up dusty electro beats, icy synths, headsy techno flavours and bottom end funk!

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Repress coming beginning of February.

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Repress!

Pacific Rhythm is elated to present a grounding offering from Oakland's Space Ghost entitled Private Paradise as our first release of 2022. The LP is an ode to Space Ghost's time spent at Sea Ranch on the Northern California coast, a place he and his partner visit to refresh their spirit and regain optimism and enthusiasm for the outside world.

Private Paradise possesses a rare ability to restore, rejuvenate, and inspire through each listen and is something we've only grown more and more fond of during the unforeseen complications we encountered during its release over the past two years. It's a piece of music that feels like a perfect nod to where we've been musically for the past 8 years and where we see ourselves heading in the future. Deep, contemplative, and uplifting audio that compels its listeners to focus on the positive forces in the world and the power of being present in a moment.

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Was the lesson intended?
It hangs like mist in the air
And now the throne is upended
And the lesson is the son and the heir

Was the lesson intended?
It resonates in the sky
A shockwave in the heavens
Visible to the naked eye

Was the lesson intended?

Was the lesson intended?
It has soaked into the ground
It is felt in every movement
And is audible in every sound

Was the lesson intended?
It cannot be denied
It rings loud like thunder
Leaving our poets tongue-tied

Was the lesson intended?

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Repress!

With an intrigue for a particular niche of old UK hardcore which takes cues from Sheffield bleep ambience, heady rave futurism and soft, almost new age synth pads, Blank Mind presents ‘Lost Paradise: Blissed Out Hardcore 91-94’. Though the records gathered for the compilation span a short three-year period and bridge the gap between scenes, the collection manages to find a sweet spot where the influence of Warp’s Artificial Intelligence, back room chill out sonics and the nascent jungle boom meet with elements of Italian piano house and slower breakbeat cuts.

Opting to focus on atmosphere to highlight shared connections; in this case the duality of often serene and calming soundscapes with frenzied breaks and bass (see Hedgehog Affair’s ‘Parameters’ and Luxury’s ‘Twirl’ respectively); Lost Paradise is a formidable collection of tracks plucked from a thriving time for British dance music experimentation. The general themes of ascension and escapism channelled through digital samplers are also inescapably linked to a turbulent time in politics, beginning in the post-Thatcher years and culminating in the year the harshest anti-rave Criminal Justice Act came into force.

Initially building the compilation around DJ Mayhem’s track ‘Inesse’, Blank Mind label founder Sam Purcell and Amsterdam based producer Tammo Hesselink began a process of swapping favourites and deep cuts to spread across this 2x12” doublepack. The compilation avoids any obvious centrepieces through masterful sequencing, allowing for moments of refrain and tempo changes in a way that helps add to their overall vision of what this music is and can be; “We wanted to frame hardcore in a different light, looking at this idea of ecstasy through the traditional meaning of the word and exploring that symbolism”. By drawing from what some might consider the softer edges of the movement, the pair offer a look into the relevance of these tracks in the contemporary era, where the past years have seen both an explosion in popularity of old ambient/new-age music and a certified jungle revival.

Additional notes:

All tracks licensed to Blank Mind by licence holders

All tracks remastered from original DATs, with the exception of Sleepwalker (A1) which has been professionally ripped and cleaned

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Well crafted futuristic electro and early Detroit inspired techno from Jeroen, for fans of early Anthony Rother, B12, Djax-Up-Beats, Warp, Eevolute etc..

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DJ Support: Alex Kassian, DJ Cosmo, Lovefingers, Sean Johnston, Laurent Garnier, Massimiliano Pagliara, Moxie, Colleen 'Cosmo' Murphy

Following Alex Kassian’s massive ‘E2–E4’, he reunites with Hiroaki Oba as Opal Sunn. Opal Sunn have played live at some of the worlds finest clubs and festivals and are tipped by many as the ones to watch. This EP is the first in a trilogy of releases. ‘Elastic’ runs from deep electronic trance inspired dancefloor driven House on the A side, to reggae-tinged dub groover and a beautiful ambient version on the B side; both with more than a nod to Kassian’s Sound and Garden of Eden tracks. Yet again, you need this in your life. Buy or cry.

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B-STOCK WITH LIGHT CORNERBUMPS: PLS SEE PICS

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A Mountain of One have been on an ever-evolving creative mission since they originally formed back in 2006.
Spearheaded by Mo Morris and Zeben Jameson, the collaboration has taken them around the world with
different band members, releasing multiple albums and EP’s, and crucially given them a platform to play,
explore and hone a definable sound that deftly pairs acoustics with electronics through dream-like songs.
Following their 2008 LP ‘Collected Works’ and 2010 LP ‘Institute of Joy’, the pair reunited in the studio to
release their much-admired ‘Stars Planets Dust Me’ LP in 2022, that was championed by Lauren Laverne and
Tracklisting
1. Star (Ricardo Villalobos Master)
2. Custard Last Stand / AMO1 Ambient Version (Ricardo Villalobos Master)
3. Make My Love Grow (Ricardo Villalobos Mix Down)
4. Black Apple Pink Apple (Ricardo Villalobos Remix)
5. Make My Love Grow (Ricardo Villalobos Make My Love Groove Remix)
6. Softlanding (Ricardo Villalobos Remix)
7. Dealer (Ricardo Villalobos Remix)
Tom Ravenscroft at 6music amongst others. And now, in true AMO1 creative fashion they are presenting an
off-shoot release of that album, one completely reimagined by the man, the myth: Ricardo Villalobos.
Much has been written and talked about when it comes to producer/DJ Ricardo Villalobos over the years.
The mercurial Chilean-German artist has consistently redefined the boundaries of techno and electronica
over the past 30-years as a producer, whilst also traversing the world and expanding minds as a DJ who can
equally delight as he does challenge.Like a great jazz drummer (he was a percussionist before discovering mixing records), Villalobos has not so
much as broken “the rules” of structure as just created his own unique approach. One that is often surprising,
ever open-minded, and clearly lead by whatever happens to be inspiring him at any given moment. Watching
him work or hearing him play music always feels live and free. He’s an artist. And that is exactly how this
(perhaps unlikely) collaborative album has come to light – but then this is Ricardo, so maybe we should all
know by now that anything is possible.
Villalobos explains, “In my scientific search for some electroacoustic musical landscapes, the offer of
remixing ‘Black Apple Pink Apple’ was just perfect for me… In general, the song writing is so very good and
particular, with all the instruments played into a sequencer, so it was very inspiring to strip down these pop
songs into my dubby extensions, taking only the drums, bass, and vocals of the song.” Expanding further,
“After delivering the first remix, Mo and myself came up with the idea of reimagining the whole album in a new
way, mixed simple with other ears and my inspirations, with a new and different point of view of what
instruments are important to hold the song to bare itself.”
It says a lot, and somehow captures the essence of Ricardo’s approach to music (and life), that one remix
soon evolved into a whole plethora of reimagined works, driven by a creative slipstream and a clear
connection to the songs created by A Mountain of One.
Mo Morris provides more insight into his own connection with Villalobos, “I lived in Berlin back in 2002-04 and
used to religiously go to dance to Rici at the after (after) hours parties: little, tiny events. And he just used to
blow my mind, I hadn’t heard anything like it before (or since). Ultra-modern and forward thinking.”
Mo continues, “A good friend connected to Ibiza happenings introduced me to Ricardo as it transpired that he
was a fan of our early material, so I sent him some demo’s when we were in the studio creating ‘Stars Planets
Dust Me’ and he loved ‘Black Apple Pink Apple’. The relationship and collaboration grew from there really, and
I hope that this release is still at the start of what we can all create together.”
Focussing in on the album at hand – ‘Ricardo Villalobos reimagines: Stars Planets Dust Me’ – we are treated to
a concept listen that guides us from dreamy daytime Balearic pop – staying very true to the original songs – all
the way through to completely original deep dubby techno excursions. And to Villalobos fans, it will perhaps
surprise (and hopefully delight) how light a touch he has provided to the opening tracks, focussing more on
enhancing the sonics, and allowing the originals to shine brighter through remastering and mixing down. It’s in
these moments that we see Ricardo as a pure music fan, needing not overly change or alter what’s already
been created, but simply doing what he can to maximise what’s already there.
What will certainly delight Ricardo fans are the four full ‘klub’ remixes provided of ‘Black Apple Pink Apple’,
‘Make My Love Grow’, ‘Softlanding’ and ‘Dealer’ that each boldly explore the outer regions of the dancefloor in
a way that only Villalobos can.
Mo rounds off, “From an electronic and sonics standpoint he’s kind of out there on his own. It’s such a unique
sound. Weatherall also had this, and Harvey has that unique flavour, and also people like Nils Frahm and Max
Richter have this gift. It’s not an easy thing to produce. Ricardo has his own personal cosmic trademark.”
Indeed he does. Take a trip with him around the stars and planets and see for yourself.

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1993 progressive acid house produced by the prolific and elusive Will Brunner. To date the only release from Shimmer records and almost impossible to find second hand. Features four diverse mixes which have been remastered by ManMade.

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After a brief hiatus we’re back with the release of the 1993 debut EP of former Prodigy dancer and keyboardist Leeroy Thornhill. The first of two self-released 12”s during his time with the group, Lowrise EP was recorded in the frantically fruitful climate between the release of Experience and Music For A Jilted Generation dropped. Leeroy is still hard at it producing and DJing all over the world and has just published a book about his time in The Prodigy called Wildfire: My Ten Years Getting High In The Prodigy.

Available once again on 12" black vinyl and licensed with the full cooperation of Leeroy himself it has been faithfully remastered from the original source material with the lacquer cut by Beau Thomas.

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Repress coming mid/end of march!

Donato Dozzy presents his next studio album entitled 'Magda'. An emotional homage to family and the Adriatic Sea. Throughout six tracks he explores colorful emotions and sounds connecting to his deepest inner feelings. Speaking through music and showing gratitude to his auntie, one of the strongest women in Donato's life and a real-life teacher.

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Following the success of his ‘Love Dub So’ EP, Nick Barber’s Doof project returns to Mysticisms, delving back to his earliest recordings of his ground-breaking Trance project, presenting tracks from his previously cassette only release ‘The Love Mixes’.

A youth that had captured the psychedelia of Pink Floyd, Gong, Hawkwind and on to Psychic TV, as a self-taught guitarist, his first trip to India and Thailand in 1989 and witnessing the early electronic dance music at the Full Moon parties, had seemed rudimentary in nature compared to musicality of psychedelic rock.

Returning to England, the electronic / rock crossover of The Shamen’s ‘Progeny’ parties – featuring DJs like Paul Oakenfold and Mixmaster Morris with the live acts of Orbital and Ramjac Corporation – offered something new that turned his head, before finally finding his crew in the legendary squat / underground Pagan parties. There, residents Lol and Yaz first played the new electronic Trance sound, introducing Barber to the music of Eye-Q, Dance To Trance and the hugely influential Pete Namlook.

Recorded between 1990 – 1991, while living in Cambridge to study Philosophy, these are the first versions of tracks that formed the basis of his debut EP on Novamute, in 1993. Working with minimal equipment – an Akai sampler, Roland monosynth, Yamaha delay pedal, all sequenced on an Atari black and white PC and single MIDI output and then recorded straight to an 8-track Tascam cassette multitrack – the exuberance and rawness of the music are full of the excitement and naivety of youth.

Never intended for public release or initially even as a demo, Barber would play the music off the Tascam multitrack for friends at after parties. Dubbing a handful of cassettes himself and personally drawing the covers, around a dozen cassettes were handed out to mates. Eventually one copy found its way to Mute Records, who were looking to launch their dance offshoot, Novamute. Re-edited mixes of Gift Of The Gods and The Nagual appeared on his debut EP and history was made, before Doof went on to release for luminaries like TIP Records and Dragonfly and a career touring the globe was launched.

Remastered from the original tapes, this EP offers a snapshot of that time, the energy and joy of these early recordings is clear and overwhelming. Where Ambient, House and Techno met the birth of electronic Trance that truly stand up some 30 years later as originals then and now.

Trance The Mystery.



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Suckerpunch Recordings are up off the stool for the second round of their Dance Floor Renovations series as Papa Nugs & the elusive Ho Gosh go head to head via a four track slobberknocker of sample heavy, 90s inspired club tackle; fast becoming synonymous with the sublabel.

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