FUSE head honcho Enzo Siragusa drops his first EP of 2023 with the long-awaited release of ‘Laughing Tones’, backed by a remix from Subsequent boss Voigtmann. It’s safe to say that every time FUSE founder Enzo Siragusa steps out on his home label with fresh music, it’s an event that carries a lot of attention and for a good reason. His last EP on the label ‘Dreamscape’ celebrated the imprint’s 50th EP release, while stand-out releases and records dating back to his very first on the imprint back in 2011 have continued to shape and evolve the label’s core identity, pushing the sound forwards while still bringing that trademark ‘FUSE aesthetic’. Returning to the label for his first release of the year, mid-July sees the renowned selector and producer unveil his latest EP ‘Laughing Tones’ as he uncovers a pair of heavily-requested productions that showcase his diverse production range backed by a driving remix from Voigtmann. “While many people know about the influences I draw from jungle and hardcore, my sound has always been routed within house music. The inspiration behind ‘Laughing Tones’ comes from the house music from the late 90s; Mood II Swing, Inland Knights, the dubs and those deeper b-sides.. this record is a bit of a modern twist on that influential sound” - Enzo Siragusa. A production drenched in rich melodies, title cut ‘Laughing Tones’ is a bright and lively production as the vibrant, sweeping leads and delicate chords meet a zigzagging, engrossing bassline and skippy percussion arrangements for a deep and bubbly trip through all hours of the night. Next, ‘Blossom’ enters the fray built around killer breaks and subtle low-end evolutions, all accented by jazzy tones and hazy textures, before Voigtmann’s vinyl-only remix of the title cut takes things into more off-kilter territories as eerie interludes, sharp hats, and cosmic tones take hold of things and dive deep into the early hours.

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Landmarks and milestones are always memorable, but the 50th EP release on FUSE feels that little bit more special as head honcho Enzo Siragusa steps up to the mark and returns for the second time this year. Having launched the label in 2011 with his now iconic ‘The Sagamore’ EP, the renowned selector and producer has grown and shaped the FUSE from a Sunday after-hours to one of the most notable names within house and techno worldwide - anchoring the label at the heart of its identity and bringing its trademark sound to an international audience. Following material from original residents Rich NxT, Rossko, Seb Zito and Archie Hamilton through to regular guests and close friends such as Guti, East End Dubs, Michael James and Fabe, October sees Siragusa showcase both his and FUSE’s evolution over the past decade as he uncovers two bustling productions across his ‘Dreamscape’ EP. A production oozing with his signature sound, yet introducing fresh subtleties in amongst the track’s snaking groove and hypnotic melodies, ‘Dreamscape’ welcomes a title cut full of energy as the FUSE boss picks up right where he left off to provide yet more heavily requested material on home turf. On the flip, ‘Bean That Talks’ sees Siragusa get playful while maintaining the vigour of his bustling live sets, combining chunky low-ends with skippy percussion and rich pads to showcase precisely why he and FUSE continue to flourish as leaders of a sound that they can truly call their own.

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A selector, producer and label head at the top of his game, Enzo Siragusa continues to prove exactly why he’s held in such high regard as a staple of the underground music scene. While developments have seen the FUSE boss adjust his approach, recent months have combined a wealth of studio time with the unveiling of new projects – most recently announcing the launch of his new genre-bending all-night-long event series, E:Dimension. Yet, there’s something about a release from Siragusa on home turf that stands out amongst the pack, with productions like ‘Sagamore’, ‘Desire’, ‘Flexin’ and the ‘Kilimanjaro’ cuts instantly recognisable after just a few seconds, and the same looks set to happen as he makes his highly-anticipated return with his first solo material on the label for over two years. Unveiling one of his most heavily requested tracks to date alongside further peak-time business on the flip, April finally welcomes the arrival of the two-track ‘Nothing Matters’.A track that’s been making waves for months, ‘ICV (Double Flake Mix)’ brings the sub-shaking, cavernous reese bassline now captured by many across the globe as Siragusa launches into his signature blend of heads-down, hands-up sonics, while the vinyl-only dub delves into afterparty territories to offer up an exclusive version for wax owners. On the flip, title cut ‘Nothing Matters’ graces the B-Side and keeps things moving as meandering melodies ride rumbling low-ends, swinging drums and chunky grooves to shape up proceedings in emphatic fashion. It’s safe to say Siragusa’s back, and he’s back like he never left.

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Enzo Siragusa adds fuel to FUSE’s milestone 10-year anniversary with the release of a metamorphic album that draws influence from the London institution’s cultivated sound, as well as the capitals ‘90s rave heritage that so heavily influenced their decade-long dominance. On A Decade of Rave, Enzo presents a cross section of his sound - one that has refined this fusion of jungle roots with house, creating eight straight-talking dance floor cuts that capture the essence of FUSE raves over the years, and two ambient tracks that lean on lengthy quests behind the decks. The music spans across two years of studio sessions and exhibits Enzo and the FUSE label’s biggest work to date. Starting with ‘Beautiful Emi’, then shifting through ‘Stromboli’, ‘Mixed Emotions’ and ‘Paradigm Shift’ all geared in their own way towards the many faces of house music. ‘Voodoo’, ‘Deeper Inside’, ‘Rollin’ Riddim’ and closing track ‘Mysterious’ see Enzo tap into Jungle, ‘90s hardcore and speed garage becoming clear they were made with the early days of FUSE at 93 Feet East in mind. Big basslines and big breakdowns are the common denominator with the intricate minimal twists that so often characterise FUSE’s sound

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Infuse027 marks label head Enzo Siragusa’s debut solo EP on the imprint. For the occasion, he finally releases ‘Little Angel’, a track close to his heart which was debuted on his BBC Radio 1 Essential Mix at the end of 2016. Embellished with swinging drums, and gentle soaring pads, it's a feel-good masterstroke of Deep House. On the flip is Romania’s Cristi Cons on remix duty, who keeps things deep but adds a subtle attitude that builds throughout, all while paying homage to the original.

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fabric bring together Pangaea and Leonce for a pair of UKG influenced / US club tracks. “With both of us playing each other’s tracks, it felt natural to collaborate in the studio on original music. Both ‘Dusted’ and ‘Stuck’ bridge the UK and US scenes, and are the result of multiple studio sessions in London when Leonce was touring in Europe” ~ Pangaea. ‘Dusted’ is UKG influenced with out-of-this-world textures, fast paced drums, expertly-chopped vocals that build on the styles Pangaea and Leonce are known for whilst 'Stuck' takes a more restrained approach, taking influence from classic 90s US club tracks. Pangaea co-runs cult UK label Hessle Audio, widely regarded as one of the finest electronic music producers of a generation whilst Leonce has been honing his US underground Club styles with the RA Recommends critically acclaimed 2024 album, System Of Objects.

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Daniel Avery returns to fabric Originals with his second EP of 2024 following on from the ‘Wonderland / Running’ EP back in March, Avery’s only officially releases for this year.“Broken euphoria. The other side of Room 1 that will crush your skull and fill your soul in equal measure. Being blinded by the most beautiful light you’ve ever seen.”Daniel Avery plays fabric, 15th November – ALL NIGHT – Divided Love Party

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Out through fabric Originals (DJ Mag – Best of British breakthrough label 2023), Trusting Theta draws inspiration from Irish and Greek mythology. It features collaborations with Eliza Rose, Mary Lake and fellow Derry-born artist SOAK. Trusting Theta is the debut studio album by Or:la.

The LP follows EPs on Hotflush Recordings and fabric Originals. Looking ahead, Or:la will play at Love International, Dekmantel Festival, Houghton, Lost Village and Body Movements before the album arrives.

Mastered and cut on 140g black vinyl by legendary mastering engineer Matt Colton at Metropolis Studios, London. Pressed at optimal media, Germany.

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Fabric Selects is the fifth instalment of the series, this time with a selection of house and minimal groves from artists connected to the club. The hand - stamped white label Vinyl V/A sampler, will be the first of its kind for fabric, featuring 5 original cuts from the compilation. A dreamy house track from fuse head honcho Enzo Siragusa that you can be sure you will hear this summer all over Ibiza. Traumer’s track "Fabrication" showcases his trademark sound of irresistible drum patterns and bassline grooves, Sweely's "Minimal Satisfaction" delivers exactly what the title describes, a masterclass in minimal house production; Laidlaw’s contribution is a chunky filtered house track with that drops into a beautiful chord progression and Voigtmann rounds off this “must have ” 300 limited vinyl edition with a peak time bass-heavy sophisticated house banger.

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Central Processing Unit releases have all been logged in an eight-bit binary numbering system ever since the Sheffield label arrived on the scene with Cygnus' 2012 LPNewmark Phase. With 256 variations allowed for in the binary catalogue, CPU now hit the halfway point more than a dozen years into their run. In that time the imprint has grown into one of the most celebrated voices in contemporary electro, its monochrome sleeve design reaching iconic status and early releases trading for big money in certain circles. As such,CPU128 Classicsserves as both a victory lap and a line in the sand, a survey of some of the highs in the imprint's discography and a second chance for CPU aficionados to get their hands on out-of-print material. And where else to begin but with a track from the very first CPU release? 'Red District Girls', a choice cut fromNewmark Phase, is as perfect a scene-setter now as it was all those years ago. This is a number which brings the Drexciya sound into the present day, offsetting some whip-smart drum tracking and a grizzled synth bassline with brilliantly eerie keys higher in the mix. CPU's reputation as a premier purveyor of modern machine-funk has been built on tracks like 'Red District Girls'. This lineage is unsurprisingly well represented onCPU128 Classics. From DMX Krew's clattering 'Not Very' to Jensen Interceptor's gurgling 'mActavis', Mikron's vroom-vrooming 'Sleep Paralysis' to the stentorian punch of MNLTH's 'Flektro',CPU128 Classicsis bursting full of mutated dancefloor tackle. It's as true now as it was back in 2012 - if you're looking for broken-beat 808s, sidewinder bass and synths which sound like they've been beamed in from deep space, then CPU is your go-to. However, just because the label is well-known for that particular sound doesn't meanCPU128lacks variation. Far from it - indeed, while post-Warp synth-work remains an overarching principle here, this collection demonstrates just how far the label casts its net in sonic terms. Take, for instance, more cerebral offerings like CN's 'Stellar Awakening'. The track still shares a clear point of origin with something like 'Red District Girls', but there's an altogether more carefree feeling to this nugget of sun-kissed electro that sets the scene for another lane of CPU's output, one of cerebral synth exploration indebted to ats like Boards of Canada. This is truer still on Mrs Jynx's 'Diving Loop' - with softly keening synth pads offset by only faint pitter-patter drums, 'Diving Loop' is a beautiful piece of dawn chorus electronica which proves yet again that the robots have feelings too. While the final joint here, Microlith's 2016 offering 'Dance With Me', is still forged on piston-precise drum programming and a cornucopia of bleep-bloop synths, the track's uplifting bounce is a world away from the foreboding feeling of some of this record's darker joints. As such, it's a perfect way to close outCPU128 Classics, an album which celebrates Central Processing Unit's past in order to look to the future. Here's to 128 more.

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Last year saw the release of portuguese electronic folk odyssey Soprem Bons Ventos on Soundway Records - this year Pedro brings it home to house. Pedro's House 002 is a hot and heartfelt ode to the hi-tech jazz universe, and the solar winds are blowing with a force. See you on the dancefloor space cowboy...

A1 - Solway System
A2 - 28 or 5 to 4
B1 - In the Attic
B2 - Knockup Stream
B3 - Maracuyá Matanzas

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Black Truffle is back with a delicious new EP, "Gourmet Edits", which takes you on a four-course adventure through the vintage disco territory, blending Jazz-Funk and Latin elements.
Black Truffle's distinctive style is characterised by skilful reinterpretations of hidden treasures from the 70's with a passionate focus on preserving the essence of the original material...

'Disco Meringue' is a crispy piano-driven appetiser with Latin flavour. Its syncopated piano riffs imbue it with a jazzy vibe that makes it a great tool to seamlessly transition between disco, Latin, and modern deep house in your set.

'Drum Tartar' is a percussive tour de force that oscillates between groovy Jazz-Funk and spicy Bossa-Nova, culminating in a thundering drum break that continues for an impressive third of the track.
'Consomme' is the EP's bread and butter for the dance floor layering pulsing percussion, wailing organ riffs, crunchy guitars, curious vocoders and many sax and organ solos that keep on taking it higher and higher resulting in a sizzling high-energy banger.
For dessert, we have 'Souffle', a fluffy big-band Jazz number with a funky Disco beat that gradually develops into an ecstatic culmination with a choir.

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First wax for the new project Ninja Edits!



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The Smile's latest remix compendium is a striking one, with two eminent producers reimagining tracks from the British rock band/Radiohead offshoot's latest and third album, CUTOUTS. This remix-set takes the core of the band's genre-blend sound, from art rock to experimental electronica, and contorts it into yet another division of volatile allotropes, this time welcoming light show IDM extravaganzist James Holden and East Kent musician Robert Stillman. Both versions are full displays of productive talent, humanisti, but still cognitively vector-mapped out in digi-space ahead of time, mirroring the abstracted, rather listless and amoral lyrics heard in the title track ("And your force means nothing...")

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Field Records proudly presents the first complete vinyl edition of Monolake’s seminal excursion into experimental dub techno, Hongkong. Originally released on the now-classic Chain Reaction label in 1997, this collection of early singles by Robert Henke and Gerhard Behles has gone on to become a vital listening experience in its own right - a genre classic alongside the other groundbreaking works from the likes of Porter Ricks and Vladislav Delay.

The tracks which make up Hongkong were made while Henke and Behles studied computer science and immersed themselves in Berlin’s techno scene. Their early forays into computer-based music production were enabled by the use of the Max/MSP programming environment, forming a backdrop to the landmark work they would undertake in developing the Ableton Live DAW. Henke and Behles travelled to Hong Kong in 1996 to attend the annual International Computer Music Conference, and while there recorded extensive field recordings. These recordings became the glue that pieced together their collaborative tracks into a fluid listening experience for a CD-compilation at Chain Reaction’s request.

While absolutely rooted in the embryonic sound of European dub techno, Monolake’s early work possesses a back room, headphone-ready demeanour which lends itself to the album listening experience. In the cascade of rhythms created by precision engineered delays and subliminal, expansive spatial world building occurring throughout Hongkong, the stage is set for a full and thorough immersion. Before the Monolake sound progressed into a more pointillist form of computer music as Henke’s solo project, Hongkong presented a gritty, grainy sonic still tied in some way to the traditional methods of techno production, even as the artists’ ideas were sending the sequencing and arranging in exciting new directions.

Remastered and presented for the first time as a complete double 12” package, this is the definitive edition of an essential work in the evolution of experimental techno. As Henke himself explains, “twenty-five years later, this record still holds immense value to me in many ways.”

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Tracklisting
A1 AgainstMe & Red Rooms - Anger
A2 AgainstMe & Red Rooms - Blurred Mind
B1 AgainstMe & Red Rooms - Tunnelvision
B2 AgainstMe & Red Rooms - Dungeon's Theme

Sales Note
The needle drops on a groove deep as a grave. A hi-hat flickering at 3 a.m. AgainstMe & Red Rooms don't care if you make it out of this one.

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The late ‘70s were such a creatively fertile period for Roy Ayers and his associates that many of his finest recordings never made it onto the official releases. Ayers kept the master tapes in storage until Peter Adarkwah of BBE Records in London got wind of them, at which point they were collected on the aptly named Virgin Ubiquity. The songs feature all the different permutations of Roy Ayers’ band, which maintained a core philosophy through shifting rhythm sections and vocalists. The underappreciated Merry Clayton brings a husky edge to “Oh What A Lonely Feeling,” “I Really Love You” and “What’s the T?” her earthy voice contrasting with the liquid textures of Ayers’ arrangement. Carla Vaughn was another of Ayers’ singing vixens, her sensual presence blending seamlessly into “Boogie Down,” “Mystic Voyage” and “Together Forever.” Although performances here rich with detail, it is a pleasure to hear “I Just Wanna Give It Up,” an uncharacteristically spare arrangement that allows us to study the inner dynamics of the Ayers machine.

“Since his 1963 debut, Ayers has worked with everyone from Herbie Mann and Guru to Fela Kuti and Erykah Badu, and his shimmering sound has foreshadowed acid jazz and fueled hip-hop, as well as gracing contemporary R&B.; Though Virgin Ubiquity is billed as a collection of thirteen never-before-released tracks, it’s far more than a mere scrap heap of outtakes, as each of its “from the vault” cuts luxuriate on the comfortable musical bed that Ayers mastered from ’76 through ’81.” – Pitchfork Review



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Essential Item Limited Edition No Re-Press ...



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