Tracklisting
A1 Andre Zimmer - Wait a Minute
A2 Andre Zimmer - Wait a Minute (Vitess remix)
B1 Andre Zimmer - Ice Lolly
B2 Andre Zimmer - Round Two

Sales Note
Canada's Andre Zimmer makes his SEVEN debut with his 'Wait a Minute' EP - a stellar collection of faster, chuggy, pacey style of house gems. The EP's title track is the first to slam, with a heavy-handed 909 kick blistering beneath a chugging bassline.

Taking influence from the Berlin house scene, it serves one purpose: to galvanise dance floor energy.
Parisian producer Vitess lands a remix of 'Wait A Minute' with his '90s-focussed sound and penchant for deep, minimal sounds being the pull. Lucious pads and electro synth lines across the hip-hop influenced vocals bolster the track's impact. 'Ice Lolly' came together at a friend's pad in Los Angeles, with a jam session grabbing UKG and speed garage influences and infusing those with a distinct '90s tech house vibe.

For its '90s influences, 'Round Two' finds its muse in a classic rave organ, while other elements that evoke a sense of the heady warehouse parties from that era include sampled vinyl scratches, breakbeats, and chunky bass from his Yamaha DX200 vintage synth.

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Tracklisting
A1 Andre Zimmer - Sound Survives
A2 Andre Zimmer - Watch Diss
B1 Andre Zimmer - Starter Frequency
B2 Andre Zimmer - Prayers

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DJ Support: Job Jobse, Bashkka, Peggy Gou, Sam Alfred, Massimiliano Pagliara, and many more.

Mixolydian delivers 5 classic house, rave infused tracks for Big Trouble Records.

Limited Vinyl Release.

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Signals Aligned stands as a sonic testament to the intersection of science, spirituality, and the vast unknown. Inspired by pioneering theories on the nature of anomalous phenomena, viewing them not as extraterrestrial but as a complex, multidimensional enigma.

There’s a consistent theme of “discovery through distortion.” Truth is often obscured by layers of misinformation, disinformation, and misperception. The music plays with the concept of clarity and distortion, revealing hidden textures beneath shifting layers of sound.

The sound palette is vast and ethereal, incorporating elements of noise, shimmering synths, and organic textures. There’s a sense of both wonder and unease that mirrors theories on the strange and unexplainable.

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Eddie shows up to this game alone, wielding, as ever, a deft and unbeatable trigger finger on the sampler...

Reprising those beloved 7 Inches Of Pleasure and early Red Motorbike vibes on some deadly Madlib style downtempo cuts, and quick Cut 'n Paste workouts

LJ Simon, who collaborated on those killer recent Sandy B releases lends a hand too, it's a joyous Disco-House affair that reminds us of those old Tony Senghore jams from the 90's

Fruitful and fully juiced up joints for the Disko Universal !

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Ata Kak created a peculiar slice of Ghanaian music history with his debut album “Obaa Sima”. While it barely made a ripple at the time of its release in 1994, the cassette found a new life online in 2006. A not-so-underground cult obsession grew after it appeared on the blog Awesome Tapes From Africa as its very first post, a sort of manifesto for the project. His addictive amalgam of left-field electronic music and Twi-language hiplife reached surprising levels of awareness among music fans of many stripes. The mystery behind the musician’s identity grew. Eventually Yaw Atta-Owusu came out of the shadows, from his quiet home in Kumasi, to tour the world playing high-energy, sweat-soaked performances at major festivals like Glastonbury, Sónar and Pop Montreal.

Now, for the first time since 1994, Ata Kak releases new music. Honed in studios around Kumasi over the last several years, the songs feature the rapper-singer’s acrobatic rap, signature scatting, dramatic drums and even traditional Akan harp. The compositions are more ambitious than his earlier work, with more complex arrangements and layered harmonies. Ata Kak’s new songs are also the natural expression of a restless artist—he is a prolific poet and author of a half-dozen books, as well as an active gardener and busy painter.

Born in Ghana in 1960, Ata Kak wasn’t always involved in music. But his travels and openness to the world lead him into the music industry. While living in Germany, he was invited to play drums in a reggae band and subsequently played in highlife bands in Ontario after moving to the Toronto area. He recorded “Obaa Sima” there at his home studio and released it in Ghana in 1994. He didn’t participate in music much in the intervening years until “Obaa Sima” was reissued in 2015. He started performing his song live with the help of a brilliant cast of London-based musicians and has toured three continents and played to thousands of fans in venues of all kinds.

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Translucent Leaves Vinyl!

First ever reissue of this groundbreaking ambient work from the esteemed, Hiroshi Yoshimura

Barely known outside of his home country during his lifetime, the late Japanese ambient music pioneer Hiroshi Yoshimura has seen his global stature rise steadily in the past few years. The 2017 reissue of his lauded debut, Music For Nine Post Cards, along with a slow building cult internet following has helped ignite a renaissance in his acclaimed body of work, much of which has never been released outside of Japan. Known for his sound design and environmental music, Yoshimura worked on a number of commissions following the 1982 release of Music For Nine Post Cards, including works for museums, galleries, public spaces, TV shows, video art, fashion shows, and even a cosmetics company.

Originally released in 1986, GREEN is one of Hiroshi Yoshimura’s most well-loved recordings and a favorite of the artist himself. Recorded over the winter of 1985-86 at Yoshimura’s home studio, the compositions unfold at an unhurried pace, a stark contrast to the busy city life of Tokyo. As Yoshimura explained in the original liner notes, the album title in the context of this body of work is not meant to be seen as a color, but is rather used to convey “the comfortable scenery of the natural cycle known as GREEN”—which perfectly encapsulates the soothing and warm sounds contained on the album, although it was created utilizing Yamaha FM synthesizers, known for their crisp digital tones.

This edition marks the first reissue of the highly sought-after and impossible to find album. It features the original mix preferred by Yoshimura himself, previously available only on the initial Japanese vinyl release (a limited edition remixed version of the album, with added sound effects, was released on CD in the US).

Selling Points:
- First ever reissue of this groundbreaking ambient work
- Produced in full cooperation with Yoshimura’s estate
- Remastered for vinyl and pressed at RTI
- Unseen original handwritten track notes by Yoshimura
- Available on 2 color variants: Translucent Leaves Vinyl or Green Vinyl

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Ralph Lawson's Leeds-based 20/20 Vision Recordings continues to mark its 30th anniversary with another special release. Full Circle Vol. Two revisits label classics through a series of fresh, heavyweight remixes. Co-founder Random Factor flips Ricardo Villalobos' seminal 'Easy Lee' into bubbling electro, all lush harmonies and tremulous bass. Bobby reimagines 'Lockdown' as a moody, propulsive 4/4 club weapon and on the B-side, Fabric resident Craig Richards strips 'Convergence' into hypnotic, percussive minimalism, while Hardway Bros' acid-tinged rework of 'Digitize' delivers rumbling low-end and twisted vocal fragments.

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Tracklisting
A1 DC11 - The Seal Is The Power
A2 DC11 - The Keyhole Speedrange
B1 DC11 - Useless Chain
B2 DC11 - Someone Who Clearly Doesn't Give A Fuck

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Baby Rollén returns to his Slump white label series alongside partner-in-crime Ollie Rant, unleashing another MPC-driven beast. ‘Worthless’ follows 2022’s ‘Move It’ with a fresh dose of breakbeat heft and electro flair, while Baby flips the A2 with a slower, TR-505 Trax-inspired rework. Remixes come courtesy of DJ Mag award winners Make A Dance and Josh Ludlow, who both tow us away from the haunting A-side into peak-time territory with a pair of thumping dancefloor weapons.

Early DJ support from: Bradley Zero, Raresh, Sam Bangura, eoin dj, Jennifer Cardini, Wallace, Moxie, Voigtmann, Roza Terenzi, Huerta + more

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Tracklisting
A1 Steve Bicknell - de-massifying media
A2 Steve Bicknell - a warehouse of images
B1 Steve Bicknell - picture of reality
B2 Steve Bicknell - facing the networks

Sales Note
The second release in the series on s-b-productions, Steve Bicknell's, Lost recordings # 4, 'In Order To Remember One Needs To Know', recorded in 1998 for the Lost dance-floor, the legendary event series in London, which ran from 1991 to 2014.
Now available with reimagined label art and remastered by Peter Van Hoesen at Memento Mastering.

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Kennedy's fourth outing via his Dream Machine is another translation of fleeting thoughts and feelings into sound. This time he touches more on club aesthetics and dancefloor experiences across three house rituals that speak equally to the head, heart and soul.

Side A taps into a rhythmic spell that hums with nostalgic warmth. Through it all dances a whimsical melodic spirit that's lighthearted but contemplative. Sugary chords fizz and cast a gentle trance that feels classic but ageless. B1 jacks like a Chicago house fever dream while jumbled congas evoke a midnight jungle ritual. Prickly acid pierces the tropical mirage as the air hums with the scent of rain and sweat. B2 features a playful and stripped-down rhythmic rework plus a hidden tool that offers double the fun to get creative DJ juices flowing.

A vivid transmission of body music and inner worlds, 'Dream 4' channels club thoughts into richly textured house incantations for dancefloor escape.

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Strut presents the official reissue of a landmark album in the field of African music, Mulatu Astatke’s ‘Mulatu Of Ethiopia’ from 1972.
A1 MULATU 5:00
A2 MASCARAM SETABA 2:40
A3 DEWEL 4:00
B1 KULUNMANQUELESHI 2:05
B2 KASALEFKUT-HULU 2:25
B3 MUNAYE 3:15
B4 CHIFARA

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For this fourth edition of CLUB REMIX, KNOWN ARTIST calls out the infectious energy experts.

Demi Riquísimo’s straight to the point effectiveness pushes “Polpogba” to the main stage with its heavy ends, cutting edge finger snaps and stabs.

Pablo Bozzi steps in with his signature EBM infused uplifting touch. Injecting a darker retro futuristic edge to the original track.

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