District 10 returns with its third chapter, a strictly vinyl-only 12”, featuring three elusive cuts from an Unknown Artist only some will recognize.

On the A side, a forgotten fragment of post punk track is reborn for the dancefloor. Sharp, driving, and already road tested by Jonny Rock. The acid at the end puts a finishing touch on the track, signature from the mysterious artist.

B1 turns inward, built on whispered French phrases, drifting through breaks, M1 elements, and steamy textures. It feels at home in a dark forest at night, where the air is thick and fresh at the same time.

Closing out the record, B2 opens a different space: dreamy yet forceful, a hymn for those final moments when the morning comes to an end. A voice asks, “can’t we live together”, a reuniting track in difficult times. Nostalgy from beautiful nights may appear.

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Tracklisting
A1 Unknown Artist - What Times Are Love
B1 Unknown Artist - The Chimes

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Tracklisting
A1 Unknown Artist - Closer 2
B1 Unknown Artist - Still Love U

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Tracklisting
A1 Unknown Artist - ARSHQR
A2 Unknown Artist - HLLHBB
B1 Unknown Artist - WYNWNU
B2 Unknown Artist - WHDA ALH

Sales Note
Tooflie's shadowy crate-diggers return for their sixth expedition, this time unearthingmelodic relics from the sands and stone of the SWANA region. The A-side opens with acharismatic locally-well-known Boris Timur from Azerbaijan, reshaping his half-crimechanson half folk music into a slinky, percussion-driven anthem that sways betweenmysticism and dancefloor intent. A2 dives deeper into the vaults: a cryptic cut built onearly hip-hop and electro intonations, stitched together from dusty Middle Easterngroove samples, looping like a mirage between past and future.
Turn to the B-side and the spotlight falls on a modern folk icon turned global cult heroOmar Souleyman. The first interpretation is a peak-time techno weapon, packed withfrenetic energy and built for ecstatic release. The closing track shifts gears in a slower,contemplative breakbeat journey that delves more deeply into the dabke tradition,stretching its spiraling melodies and communal pulse into a pre-dawn dreamstate.Once again, Tooflie fuses archival echoes and electronic invention into a spellbindingvinyl-only dispatch for dancers and diggers alike.

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The brilliantly beguiling R-Zone series hits release number 20 with another genre defying four track EP by no one knows who. As always, the music looks backwards to go forwards and frantically blends breakbeat, rave, acid, house, electro and techno into wild new forms. The Geometry of Shadows kicks off with a flurry of pinging kick drums, rushing synths and smeared chords that manage to be physical yet serene at the same time. Chrysalis is deep Detroit style house with gurgling basslines and warm future soul synths extending off into the cosmos. Ship of Tears then races through the galaxies as asteroids, shooting sci-fi synths and glassy melodies all fly by in enchanting fashion, Acid is buried deep within and the drum programming is busy and direct. The Parliament of Dreams closes things down with more haunting celestial pads and cold acid lines that are all backed by boom-bap breakbeats. It's dance floor euphoria of the highest order once more.

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New Year = new R Zone. This time the revivalist rave crew, brutal techno lovers and broken beat brothers--whoever they may be--serve up three more tantalising tracks that are designed simply for high dance floor impact. 'Greatest Enemy' is first and lives in a deep space world where jungliest percussion and pummelling drums are offset with swirling pads and warm synths. It's an emotional roller coaster that gets followed up by 'Spike', a manic and prickly speaker blaster with wild melodies and rave stylings all barely continued by punch and off beat kick drums. Last of all, 'Faramore Agent' is in your face with its frazzled bass, skittish percussion and vocal stabs all panning about left and right. One again this is brilliantly all over the place and impossibly visceral music designed to devastate all who hear it.

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This one took us long enough! New offspring bastard house from the dark waters of R-Zone.







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Keeping up the pressure with their anonymous EP series, R-Zone now offer up three more cuts of purely dance floor aligned action. Opener 'You Wear The Mask Of The Beast' is a mysterious cut with a spooky lead synth, subtle, buried deep drums that are full of implicit energy and build to a heady peak. Raw textures, unfamiliar patterns and perfect back room vibes all pervade. 'Salt Volatile This Sucka' is a slow mo but chugging track with frazzled synth lines, atmospheric pads and curious melodies all spiralling above lazy, ramshackle drums. Last but not least, 'Arrowhead', a sludgy, dirty, sleazy groove that sounds broken. It's a fantastic fusion of fucked up machines sounds that keeps you on edge throughout. Once again here R-Zone have confounded all expectations with their left-of-centre electronica.





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The R Zone series excels at raw, inventive, off kilter club music from a range of mysterious artists. That fine tradition continues once more here with another four cuts of inventive music that takes cues from techno, IDM, acid and house. Lumidei is all wonky drums and out of time hits and is a brilliantly weird cut full of spacious atmospherics. Mynheer is built on a bed of broken beats, knocking hits and metallic textures that all tumble and fall around loosely and invitingly





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For their next trick, the anonymous R-Zone crew turn out three darkly engaging cuts that once again look back to a ravey heyday for their inspiration, but at the same time conjure up some refreshing contemporary ideas that will no doubt have dancefloors in raptures. EP opener 'Onefourone' is an epic end of the night track with big drums, melancholic chords and a sombre sense of finality that makes you think the world could end anytime. 'Gravity' sounds like an invasion from space, with falling synth lines, buried deep drums and clattering percussion all making for a foreboding atmosphere. 'Stolen Birds' fills up the flip side with a groaning and darkwave synth line and cooing birdcalls. As big hi hats come in and glassy tinkles fill in the airwaves, it turns into a stormy affair that is both dancey and cerebral at the same time. As always with R-Zone, this is compelling, creative music that bristles and brims with all sorts of occult charm.



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Just a year after starting and the irrepressible R-Zone series is up to release number 9. Again this time there is no real word on who is behind the music, but again it is fierce, searing techno for darkened dancefloors. The barrelling, stomping 'Down You Go' opens this EP with blocky metal beats, spares synth lines which bleed in and out of focus and plenty of rattling percussion. 'Give Me More' goes a little slower and deeper, with rubbery kick drums forming the base of the track as molten and melted acid gurgles percolate up through the mix. On the flipside, 'Too Much TV' is a more elastic groove that undulates up and down with short little acid stabs buried deep within as the bass drops in and out. Supple and propulsive, it's arresting stuff that gets completed with final track 'VHC Beats'. Whichever producers are behind the R-Zone series always manages to come up with the goods, so if you like fizzing, textured techno that pulls no punches, this remains the ser ies for you.





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The much loved R-Zone series continues apace here with three more rough analogue jams for its seventh release. If U Going Thru Hell Keep Going is a paranoid, angsty bit of house jack with a busy synth line, hard hitting percussion and plenty of muddy, murky atmosphere. Emojako is even more unhinged and off filter with its weird hooks, dusty hi hats and intense drum workouts. It's a physical one that will fuck with your mind as it changes direction freely, and final track Subatomi is just as freaky and left of centre. The synths are lively and charming, spraying about above a cacophony of woody percussion and heavy drums. It's grainy and roughhewn but groovy and catchy at the same time.



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R-Zone is a new label launched by Global Darkness. Who is involved isn't exactly a secret, those who feel so inclined can piece the information together quite easily. It is however irrelevant to the concept of R-Zone, which would like to shift the focus away from namedropping and perception based on hype around individual artists and bring it back where it belongs; in the lap of the music.

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