Tom Ellis is back on Telegraph with a very strong new EP. A four tracks project that showcases the huge talent of this special UK House producer. All tracks are dancefloor killers, always funky and groovy; they are full of creativity evolving into different atmospheres. Tom’s music definitely is very human and always musical. Tom’s highly acclaimed and ever growing discography spreads far and wide through labels such as Hushlamb, Onysia, Minibar, Hartchef, Trimsound (his own imprint), Logistic, Archipel and Telegraph. He regularly performs live around Europe alone or with his band Soulstatejazz together with Mark Hand and joined by Michiel Renger (Tenor Sax) and Dave Dove (Elson) (Ableton/Reaktor).

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Tom Ellis delivers an incredible 4 track EP on this the latest instalment on the Dokutoku imprint. The British multi instrumentalist has supplied a delightfully diverse release with shades of house, minimal and techno all tied together with his trademark jazzy textures.

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This record is a bomb! It had to be said.. Telegraph is proud to present Tom Ellis’ new EP. A four tracks project (+ 1 digital bonus) that showcases the huge talent of this special UK House producer. All tracks are dancefloor killers, always funky and groovy they are full of creativity evolving into different atmospheres. A tribal exotic flavour on some tracks bring a fresh vibe into his productions, Tom’s music definitely is very human and always musical. Tom’s highly acclaimed and ever growing discography spreads far and wide through labels such as Hartchef, Minibar, Trimsound (his own imprint), Logistic, Archipel, Floppy Funk, Morris Audio and Telegraph. He regularly performs live around Europe and can be witnessed displaying his bass guitar skills along side label partner Leif with their Trimsound Live project.



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A serious selection of outstanding electronica from Freerotation family member Tom Ellis with his debut 12" for UntilMyHeartStops.


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In Modo Di (a classical music term for 'In the mode/style of..') is the new record label run by underground stalwart, Tom Ellis. One of the founding members and residents of the highly acclaimed Freerotation Festival brings us a resolute 4 track EP of his own deep, melodic techno productions, pushing forward his explorations of more hypnotic and textured dance music.

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The Black Key team step up once again, this time with the third in their limited, vinyl-only series, with Freerotation resident and established producer, Tom Ellis, delivering 4 sublime tracks of subtle and hypnotic house music, in the form of the simply titled "Limited Volume 3". Now undoubtedly an established and respected label, Brighton (UK) based Black Key Records are approaching their third year in the business, having released records from the likes of BLM, Iron Curtis, Pawas, Flori and Ugly Drums, all of which have gained attention for all the right reasons. Here, Tom Ellis delivers an excellent and intelligent EP, with all 4 tracks displaying the talent this man posses for creating a unique and instantly likeable take on deep house music... the right kind. There is no question that this limited release will appeal to the real heads among us - quality stuff. This EP is yet another statement from the Black Key camp, proving their worth in true style. Limited hand-stamped.


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Logistic is proud to release another collaboration Ep from Tom Ellis and Baby Ford. On this part 2 Ep, you will find a second remix version of Brainstew by Baby Ford and 2 special tracks by Tom using elements taken from sounds factory. A1. Printhaus Stew has a Mike Ink flavour, a dub techno track with special sound structure. Very groovy and dancefloor killer, the ingredients are from the Cardiff Printhaus. A2. Penybanc Stew is a minimal house track very groovy with nice pads in the middle. In the line of Akufen’s music this track is stripped down to the best and has been made in the beautiful surroundings of Pen Y Banc, Machynlleth. The B side contains “Brainstew Baby Ford remix part.2” Another long and dj's friendly version from the Uk acid house pioneer. This new remix is very hypnotic with strong groove perfectly design to be a dancefloor killer. The production work is amazing on this version.. very precise work. The voices are superbely used. This new remix is a huge piece of techno music as it’s best. Enjoy !



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Apophenia, putting together pattern and meaning out of seemingly random sensory input. With Tom Ellis's debut Archipel 12", we are served a plethora of solid binary aural and metaphysical workouts. The titles are alphanumeric and let the music do the speaking, however, keep in mind the 12"s title, which perhaps suggest there may be meaning yet in these seemingly related titles. The two pieces on the A-side are fleshy, rigid swinging, the first with a curious and driven melody rhythmically held tight with a grid-work of percussion while the second track is more stripped down and even more hypnotic and binary.The B-side takes a more corrosive approach with the first track proceeding with a neural network of sharp rhythms and razor precision slices of illusive vocals while the second track buffers itself into a full allotment of an
organized digitized funk frenzy.


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Known for their standout releases on the iconic German label Perlon, Narcotic Syntax have long crafted a singular blend of minimalism, experimentation, and subtle emotional depth. Their music is built from finely carved rhythms, playful vocal fragments, analog textures, and unexpected twists that create a world both hypnotic and delightfully off-center. With this new release on Logistic Records, the duo open a fresh chapter — one that carries the unmistakable Narcotic Syntax DNA while pushing their sound into new, vivid spaces.

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For our 30th anniversary, we drive back into the catalog to shine a light on two essential releases: Street Knowledge (log55) and Dial (log59) by Tobias.
Originally released during a time when groove, hypnotic repetition and sonic depth mattered more than formats or trends, these two EPs perfectly embody the label’s timeless aesthetic: functional yet subtle music, made for both the dancefloor and deep listening.
For this special reissue, we carefully selected the four strongest tracks from the two EPs. Four cuts that capture the core of the Tobias. sound: organic rhythms, soul-infused minimal house, raw yet elegant textures, and an unmistakable sense of groove that has aged flawlessly. A timeless classic…

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TRACKLISTING:
A1. Listen (feat. Dandy Jack)
A2. Sympatico (feat. San Proper & Dandy Jack)
B1. Layback (feat. Tin Man)
B2. Love Love (feat. Dave Aju)
C1. Coronark (feat. Ark)
C2. MD 404 (feat. Ben Vedren)
C3. Prospectin' (feat. The Mole)
D1. Bless You (feat. Ernesto Ferreyra)
D2. Goodwill (feat. Cuthead)
Mindoor is the first album by Pierre Deniel aka Pit Spector. This album was produced in collaboration with 9 leading artists from the electronic music scene. This project for Logistic Records is a continuation of the work provided by Pit for many years and which has already given birth to a series of several Maxi EPs initiated on his own label "Prospector".

On this first album Pit Spector surrounded himself with producers of geniuses such as: Dandy Jack, San Proper, Tin Man, The Mole, Cuthead, Ben Vedren, Ernesto Ferreyra, Dave Aju and Ark. These collaborations have enabled the learning and exchange of many production techniques leading to an album rich in colour, eclectic, and not limited to any particular style. With Mindoor, Pit offers a unique journey into the vast landscapes of electronic music, sometimes sweet, groovy, sexy - sometimes raw and funky. Each track has been precisely mixed by Pit Spector to create a homogeneous aspect despite different production techniques used for each track.


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Fela Kuti in Dub is a showcase album containing four essential songs by Fela Kuti in the style of a Jamaican Discomix, evolving from an instrumental cover version to a dub version, celebrating the musical heritage of Nigeria and Jamaica likewise. Please understand this work as a hommage to both musical cultures. The four tracks were chosen because they are a timeless witness to the political potential of music, that being proofed by their actuality. The songs feature essential dub e?ects like echoes, reverb and filtering but also feature analogue sound e?ects underlining and sonically illustrating the missing lyrical content. These vary from thundery spring reverbs and percussion instruments imitating the pouring rain on „Water No Get Enemy“ to marching soldiers and shot gun like reverbs on „Zombie“. From a cash register on „Expensive Shit“ to the dub sirens created live on a Korg MS10 on „Everything Scatter“.

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Olá, Malta! Nico Jean is here with an excursion of acid, downtempo and hip-house flavors. Un 12” muy caliente, club ready & backed by a remix from Mexican underground heroes Soul Of Hex, also known as Mano De Fuego on Underground Resistance.

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Printed Sleeve

Matt Sleeve

Colored Vinyl

Tracklisting
A1 Dreurescu - Tripal
A2 Rithm - Fragment de Vent
B1 Ix3m & Peter Zherebtsov - Unexplored

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Black Vinyl 2LP Gatefold

2LP TRACKLIST:
A1. Introit
A2. Prophecy At 1420 MHz
A3. Hydrogen Helium Lithium Leviathan
A4. Age Of Capricorn
A5. Father And Son
B1. Somewhere Right Now In The Future
B2. Naraka
B3. Acts Of Magic
B4. Memory Death
B5. The Word Becomes Flesh
C1. Into The Magic Land
C2. Blood In The Labyrinth
C3. Deep Time
C4. All Reason Departs
D1. Arena Americanada
D2. The Process
D3. You Retreat In Time And Space
D4. I Saw Through Platonia

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Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the
sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further.
Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its
doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the
multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers
merging in a unique musical blend.
Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu
Genea's hometown, Napoli, becomes a true place of encounter.
You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the
melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate
vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your
soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary
Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are
overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast.
Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté",
where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the
uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song,
giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic,
deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multitextured
instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s
poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative
verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’
Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions.
Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into
sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions,
they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to
unexpected musical journeys.

TRACKLIST:

A1. Bar Mediterraneo
A2. Tienaté
A3. Gelbi (with Marzouk Mejri)
A4. Marechià (with Célia Kameni)
A5. Straniero
B1. Praja Magia
B2. Vesuvio
B3. Rire
B4. La Crisi

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Glasgow based Seated Records return with more 1980s Scottish Post-Punk / New Wave material. In this 8-track mini compilation the label introduces the work of Stirling band 22 Beaches, offering a deep dive into music recorded between 1980-1984 - the majority of which has never seen the light of day!

22 Beaches formed in Stirling in the late 1970s as an evolution of the short lived group ‘Alone at Last’ - drummer Fred Parson’s and guitarist Stephen Hunter being the two who spanned the divide. Out of the six members of 22 Beaches, many were school friends, and the rest naturally fell together. The band toured extensively and played at a truly diverse set of venues across the UK: from a local swimming pool boiler room, to small nightclubs and university parties, to several fundraisers for the miners strike. Maybe most notably of all, drummer Fred Parsons described playing at what he calls “the Grangemouth International”, organised by local promoter Brian Guthrie and which featured an all-star lineup of 22 Beaches, The Exploited and the first incarnation of The Cocteau Twins. A coach was hired to ship the audience to Grangemouth from Stirling, the cost of which was included in the ticket. The gig then paused halfway through for a 'help yourself' buffet. Young promoters take heed. This is how it's done!

Over the course of the 80s the band released music on three different, and now sought after, various artists compilation cassettes. “What Day Is It?” and “Sadie When She Died” were released on a compilation of local Stirling artists 'The A.N.K.L.E File'. The track from which the current record takes its namesake - “Dust” - was initially released on a compilation-tape for the fanzine 'Another Spark'. And ‘‘Zoo” (also featured on this record) was first released on Glasgow label Pleasantly Surprised via compilation, 'An Hour Of Eloquent Sounds', where 22 Beaches rubbed shoulders with early music from Scottish names Primal Scream, Cocteau Twins, The Wake and Sunset Gun. Unfortunately, 22 Beaches never met the same level of commercial success as these others and decided to retire the project in 1984 - leaving their recordings and demos to gather dust (hehe)…until now!

This compilation, “Dust: recordings 1980-1984” follows the band's journey and the changes in their sound over the years. It moves from the raw, punk energy of early DIY recordings through to the A Certain Ratio style Balearica of their later pieces. The record's opener and title track “Dust” is perhaps the most shining example of the latter. Characterised by the plenitude of sonic space in the mix, “Dust” has an almost dub sensibility that is communicated through centrality of Parsons’ drums, McChord’s percussion, and Fildes’ Bass while the harmonising vocals of Sharkey and McGregor chant over the top to give the track its distinctive psychedelic edge. This is an atmosphere only exacerbated by the lofi quality of the recording which sits the vocals in the same aural realm as much 1960s psych-folk. On “Cartoon Boy”, the band strips things down further. A droning bass line persists through the tape fuzz and is accompanied by the sounds of a sole looping guitar chord sequence and McGregor and Sharkey’s vocals - respectively and carefully dancing around one another before harmonising in the most beautiful way. The result is a haunting and abstract Marine Girls style heartbreaker. ‘That Girl’ again delivers a dub adjacent rhythm section similar to that of “Dust”. However, on this instance crisp guitar chords, a distant, phased organ and blue-eyed soul vocal delivery, produce a track that could easily have been a lost Orange Juice recording from their sessions with Dennis Bovel. On “Somebody Got It Wrong” and “One Of Us” the band employ a more macro approach where a jangling guitar with an almost highlife-influenced tone, vocal ad-libs and syncopated percussion give the music a Talking Heads-esque swagger.

Taken together these tracks illustrate a clear trajectory in the band's sound, moving from from the high energy no-wave quality of early recordings towards a more dub influenced, and stripped-back sound - a sonic trajectory followed by so many bands of the time, not least those emerging from the diaspora of Manchester’s Factory Records.

On “Breathing’’ we hear the beginning of this transition, with the strong influence of the oddball NYC disco styles of Was (Not Was) and ZE records. All of this is meshed together with the residual punk rock energy of 1980s UK. This combination is employed to excellent effect with the addition of the distinctly Scottish (and what the band confirmed to me to be spontaneous) vocal delivery of: “Do you love me? Do you want me?” “Aye!” “Do you love me? Do you need me?” “Naw!”.

On the record’s closing tracks, “Zoo” and “Talent Show”, we hear early examples of the band’s work, playing with their rawest all-in-one-take live energy where Hunter’s spiralling guitar riffs and McGregor's distorted vocal exclamations lead the charge. The band recalls that these initial-forays did not always translate so well into multitrack recording and overdubbing: “the deconstruction took away some of the band's natural feel”. On “Talent Show” the record ends with Sharkey delivering an almost unintelligible spoken word section over the top of the track, making for one final, disorientating, almost manic slice of post-punk.

These tracks from 1980-1984 chart the progress of a unique contribution to the world of Scottish Post-Punk and New Wave, encapsulating not only the musical trajectory of 22 Beaches but also echoing the broader sonic landscape of 1980s UK, a testament to the adaptability and creativity of the UK’s underground music of the time.

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