US talent Serge Devant makes a welcome return to Crosstown Rebels in July with the three-track Hush Hush EP. Damian Lazarus’ flagship label is familiar territory for the NYC talent, where he’s made several acclaimed appearances since 2015.

Flashback feat. Forrest gets the show underway, as soft kicks live beside pulsing synth tones and Forrest’s echoing vocals throughout. There’s a soothing feel to the piece, making it well-built for both sunrise and sunset moments, whilst still retaining enough oomph to make it perfect dancefloor material. Hot Circuit comes next, taking the form of an out-and-out club-cut packed full of low-slung, Ibiza-ready groove, whilst Hush Hush continues in a similarly punchy vein to round off the EP on a techy note.

Serge Devant has an esteemed reputation in today’s dance music industry, from playing at DC-10 to his music turning the heads of Jamie Jones and Damian Lazarus, his talent speaks for itself. Emerald City, Knee Deep In Sound and Circus Recordings are just a few of the labels he’s released on, whilst performances for international brands such as Day Zero, Music On, Get Lost and Paradise prove his standing as a globally-revered DJ and producer.

New Zealander via Berlin Philippa is a producer and DJ whose passion for house music, tireless commitment to her craft and ear for what makes a dance floor tick is slowly and surely starting to pay off. Having been a prominent DJ and promoter back in New Zealand she relocated to the European mecca of electronic music in 2013, where she embraced not only Berlin’s nightlife but also its rich heritage of synthesisers, samplers and sound design. She immersed herself in a new world which saw her lecturing at an institute of arts and technology by day and creating beautiful and unique house music by night. Launching At Peace Music in 2019 led to her music falling on the ears of Jimpster who was suitably impressed and eager to hear more.

Cut to 2022 and we’re proud to present There’s A Ghost In My Synthesizer, an EP which showcases Philippa’s musicality and production nous across 4 tracks which takes in funk-infused, rolling grooves, blissful, string-heavy atmospherics and crunchy disco beats. On the title track Philippa goes heavy on the strings and horns bringing some welcome Philly Soul vibes to a track which is guaranteed to bring something special to the party. I Guess I Have Boy puts a live bass line front and centre whilst sweeping pads keep things deep and warm. The uptempo funked up groove of Dimes follows, giving us a little hint of Philippa’s love of jacking Chicago house but with her own unique twist with that live, jazzy feel which she does so well. Closing out the EP we have Slow It Down which brings a smooth, soulful touch to the release with lush strings and vocal from Mo Van Zandt.

Peggy Gou releases a remix package of her acclaimed 2021 'I Go' single, it’s a stellar release featuring some of the most respected names in electronic music - Soulwax, DJ Koze and Maurice Fulton.

Named by Pitchfork as one of 2021’s best electronic releases among a host of other accolades (“Her vocals are gentle, but her promise of persistence (“I go I go, I go I go”) feels powerful. Throbbing drum machines further bolster her energizing message, turning a personal pep talk into a lull-crushing banger. A six-minute ’90s dance megamix that feels 10 minutes too short, it definitely goes”) Peggy’s original was an incredible piece of club-focused electronic music that showcased her love of 90s dance anthems. The remix collection has been personally curated by Gou herself, choosing some of her favourite heroes to put their own unique stamp on “I Go”

Peggy Gou: “I love 90s house music - which was a big inspiration for I Go - and I love remix culture. For these remixes I reached out to some of my favourite artists and they really delivered! Soulwax, Koze and Maurice are dance music legends and the results are sick”

Pretty Girl is in some sort of purple patch. Storming off the back of stellar releases ‘Arc’ and ‘Sun Phase’, the Naarm neophyte has officially arrived with her debut EP ‘Middle Ground’. What is now becoming somewhat of a signature, the artist lathers the debut in her very own saintly vocals. This is a four-track exposé of emotive dance music. 
 

The A1 ‘Arc’ sets the tone. Flexing her muscles in sound design, PG pieces together a shimmering house runner. Featuring laser-like chords and delectable drum patterns, ‘Arc’ sends you skyward. Racking up giant streaming numbers and snaring features on more than 20 Spotify Editorial playlists, this one’s an underground bullseye. 
 

'Empathy’ is the next to arrive. A call and response record that walks a lovely tightrope, perfectly balanced in both vocals and production. As the name suggests, the piece is stacked with deep motif’s that act as a window into Pretty Girl’s day-to-day. Her standout vocal production to date is met with her distinctive driving percussion and melancholic chord progressions. 
 

'Lavender’ is a sharp percussive creation and a fitting welcome to the B-side. A one-line affair that burrows deeper and deeper. Once again, showing off her prowess in production, PG plays masterfully with sub-bass and glitchy drums resulting in a stellar display of late-night audio. 
 

Although devoid of lyrics ‘The Only Way Is Through’, brims with feeling and is the perfect climax. Here’s a record full of hope and promise. Manipulating an array of judiciously chosen synths, PG shapes a vast interstellar space. Over the 8 minute trip, a palette of tight drum patterns come knocking, pleasantly surprising you with each visit. With time on her side, the producer gives each sonic element its moment in the spotlight. And girl do they shine! Where there is light, there is darkness and PG plays with both moods to perfection. Listen closely and you can almost hear the concentration involved in piecing this moving galaxy together. 
 

With staggering streaming numbers across multiple platforms along with additions to some of the world’s most sought-after playlists, the time is now for Pretty Girl and the release of ‘Middle Ground’.

AVNU (UK) follows up his fantastic recent single on Ellum Audio with a long-awaited and hugely adventurous new album, ‘Tough To Love But Worth The Effort’.

AVNU (UK) is based on the East Coast of Scotland and has been deeply immersed in music for twenty plus years. He has a love of everything from rock, soul and blues to disco, electro, techno, trance and rave. All of that comes out in his innovative sounds, which range from sweat-inducing club tracks to hooky and feel-good grooves. This album finds him working his magic across 15 tracks that bring plenty of fresh perspective to house, electro, synth, techno and pop. They add up to a storytelling record filled with left turns and tracks that work in a range of different contexts.

'Surprise!' opens with a glossy electro beat and shimmering 80s synths that set the tone for the whole record. 'I Love You' brings a French touch influence with plenty of filtered synth loops and crisp drums under a soulful vocal, then 'Supaflake' cuts loose on an old-school funk vibe with nods to early Daft Punk. This most colourful of records plays out through the likes of sombre cosmic techno offering 'Bad Karma,' the longing chords and heavy-hearted electronica of 'Odyssey Jam' feat Mariel Ito and distorted bass of 'Phlegm In The Street' which comes with laser-like synths and menacing vocals.

The future styles continue on 'Yo E, Check This Out' which collides jungle breakbeats with brain-melting sine waves, while 'Wilkie' is a moment to catch your breath amongst bright and shiny synths and deeper drums that suspend you in a celestial sky. 'Proud You’re Mine' is a perfect electro-dance-pop gem that has potential to be a summer festival anthem and the title track closes down with six minutes of enchanting and mystical synth lines and hypnotic drums.

‘Tough To Love But Worth The Effort’ is a spectacularly broad and accomplished album that lives in a world of its own.

Early Experiments sees Jackmaster release a collection of music recorded during lockdown, a particularly abundant period spent getting to grips with his home studio. After years of honing his craft solely as a DJ, lockdown saw him dive headfirst into exploring music production and sound design. As you would hope, the results draw from as many strains of influence as his wide-ranging club mixes do.
 
The A Side opens with ‘Face Your Fate’ which sees Jack call in Keith Tucker from Aux 88 and Blak Tony to further cement the Glasgow > Detroit bond with a classic short & sweet vocal delivery. Next up is the polished loopy techno of ‘Vizor’, reminiscent of close friend Artwork’s Grain project meeting Chain Reaction, the EP moves through Dutch electro-funk, Detroit influenced pads and chords and even the sounds of UK Garage. ‘SBS’ pairs a clever monologue sample with hard-hitting percussion and a floor friendly breakdown, inspired by his his formative years dancing and watching in awe when the likes of Lory D, Claude Young and Jeff Mills would pass through Glasgow.
 
The tempo rises to 140 on the menacing ‘A Tribute’, with sharp synth programming recalling the foundational Mixed up in the Hague CD’s. 

French dynamo LB aka Labat returns for his second EP on Steel City Dance Discs. The Lyon-based artist delivers another collection of eclectic productions, displaying his trademark ability to source and integrate individuality and soul.

Skincare’s title track of the same name is a pure house throwback featuring labat’s trademark punchy 808’s, swirling synths and hypnotic vocal line guaranteed to have you moving on any dancefloor.

The making of a maiden album can be a capricious process. One moment of outright musical flow paired with another period of sustained creative struggle are feats experienced by seasoned producers the world over. So when Miraclis was forced to hole away in his makeshift studio - in the midst of a global pandemic - the stage was set for something magical. Now it will see the light of day for the very first time.

Having released two singles on Secret Teachings to critical acclaim already this year, Chilean talent Miraclis will accomplish a milestone achievement in July with the release of his debut album: Origin Of Truth.

Difficult experiences were fundamental to the creation of such work, as were Miraclis’ inherent musical interests. He explains: “Origin Of Truth had its birth during the pandemic. I created it as a way of communicating to myself the sensations and feelings that were spinning around my head at the time. I've always been inspired by Bristol trip hop, as well as classical rock, and these genres definitely contributed to the making of these melancholic tracks. In a way I wanted to fuse all the musical influences that were part of my childhood, up until this point now, so this album really means a lot to me. It was my way of communicating, when there was a lack of social contact and communication itself was hard to come by.”

It's this meditative quality that initially drew Damian Lazarus to the project. “It’s a record that has its roots in electronic music, but it’s a very alternative, very deep, melancholic album. I find it both soothing and stirring at the same time, and that’s a quite interesting juxtaposition in that it feels edgy but delicious at the same time,” says Lazarus. “The fact that this was written in this place surrounded by the most incredible desert landscapes makes this a very important piece of work to me. It doesn’t sit in any particular genre, which is why it feels right for a Secret Teachings release. It hints at so many genres that I as a DJ am quite into, and it feels like a first as it’s unique and unclassifiable. That mystical, esoteric, edgy feel makes this a perfect release for the label.”

Sonnet opens proceedings, with ghostly vocals residing next to raw instrumental elements throughout. Miraclis’ signature guitar riffs soon converge on saddened keys, paving the way for Scienter. It takes the form of an instrument-based, electronic-inspired cut, building slowly before reaching a crescendo midway through via an enrapturing acoustic solo.

Floating Child comes next, brimming with a darker intensity courtesy of broody synth pulses and rhythmic hi-hats, as Shiver arrives next. There’s a rock-leaning sensibility to the piece that gives way to earnest lyrical offerings, opening swiftly into the breakbeat-esque world of Perceptions. Hard-hitting drums act as the focal point, with electric chords adding depth and intrigue, whilst Bright continues in a similarly heartfelt vein.

Introspective pads leave us feeling pensive, ahead of Interstellar taking us on a celestial journey through warped bass tones. Acting as the LP’s penultimate number, it’s a four-and-a-half minute showcase of guitar-based musical goodness and one that perfectly sets the stage for Trapped, a closing saga of suitably emotive proportions.

Miraclis earned his stripes as a DJ under the name Max Clementi in his native Chile, as well as Spain after a stint at the Barcelona SAE Institute. Playing and writing music since his parents gave him his first guitar at age twelve, he found himself inspired by synth wave, electronic pop, trip hop, and psychedelic rock of the ‘80s and ‘90s, drenching himself in music by the likes of Massive Attack, Tricky, Depeche Mode, and Nine Inch Nails. However, it wasn’t until he had to move back to Pucón to take care of his father during the pandemic that he began working on what would become Origin Of Truth.

Serendipity seems to play a large part in Crosstown Rebels’ new label Secret Teachings. Just look at the story of how Damian met Miraclis in the first place. It involved a chance midnight encounter in Pucón, Chile at a woodland campfire after the DJ was locked out of his hotel room. This meeting of minds was the start of a remarkable friendship, where Miraclis invited Lazarus to stay at his house and break bread with his family. The two kept in touch, exchanging music and ideas as a result.

Presenting a special limited edition reissue of a stone cold classic from the R&S vaults, 1993 style, remastered and repressed on special transparent wax.

Capricorn aka Dutch producer and DJ Hans Weekhout originally released the '20Hz' 3 track EP on R&S sub-label Global Cuts to much acclaim.
A record that was literally everywhere in '93 and still rocks any club today, '20Hz' is undoubtedly an all-time anthem with it's combination of rolling, thunderous drums, glacial marimba-like melodies and a tense trance inducing atmosphere that literally lifts the dancefloor to another place. 'Didn't I' is also a proper old-school peak-time stormer, it's uptempo, dripping in positive vibes with sampled soulful vocals and chopped up drum breaks all encapsulated within a real rave sensibility. Closing out the EP we are treated to 'For The Soul, Body & Mind' which is a much darker, deeper and menacing vibe than the previous cuts. More in line with the earliest fringes of jungle, hardcore and bleep tehcno the track takes us on a journey into the heart of the night with it's bass heavy and intricate sound programming and breakbeats, proving that Hans Weekhout was an extremely versatile and open minded producer. Overall, a truly classic and essential EP from the heyday of European house and techno that still packs a punch today!

This special 2021 edition is reissued by R&S Records from original master sources, remastered by Curve Pusher.

From 2008 comes 'Keys, Strings, Tambourines' - Kenny Larkin's fourth full length LP.

Yet another advanced, singular and funked out techno milestone that bears all of Larkin's idiosyncratic stylings and melodic touches. Once more he shows us how it's done, sounding like nothing you've heard from him previously, 'Keys, Strings, Tambourines' is a truly adventurous record that defies categorisation today. Quietly influencing producers and DJs since its release, it points to where techno can go and what it can be and is a truly and criminally overlooked modern Detroit techno classic. This is an essential purchase for all electronic machine-funk aficionados worldwide. This special expanded edition boasts a slightly reshuffled track order and some additional cuts that were only available on singles at the time, now giving the world 3 solid slabs of futurist techno sonics for the believers! Essential music from the motor city.

'Keys, Strings, Tambourines' has been legitimately reissued for 2022 on Kenny’s own Art Of Dance imprint. Remastered from DAT tapes and original sources by Curve Pusher. Artwork redesigned by Atelier Superplus.

Sources is a brand new series which will examine the output of a number of extremely influential independent U.S. labels throughout the 1970s, 1980s and 1990s. In an age where corporate anonymity reigns supreme and music is being treated like aural wallpaper, the Sources series will go back to a time when record labels really meant something via their A&R policies, their ground-breaking releases, their everyday modus-operandi and their general philosophies. What made these operations unique? How did they manage to compete with the major companies? How did they protect their artist rosters? What sort of
people ran these operations and how did they manage to survive in the cut-throat music business?

The fourth package in the Sources series covers one of the most loved New York independent record labels ever, the iconic Sam Records. Formed by industry veteran Sam Weiss in 1975, the label launched with a the killer atmospheric funk anthem “Woman Of The Ghetto” by Doris Duke before heading into Disco territory with several hugely successful albums from John Davis & The Monster Orchestra before hitting big internationally with a brace of Disco smashes from Gary’s Gang including their most successful single “Keep On Dancing”. By the beginning of the 1980s Sam managed to deftly circumnavigate the Disco backlash and re-invent themselves as a bona-fide 80s Dance label immediately scoring with Rhyze’s “Just How Sweet Is Your Love”, Convertion’s “Let’s Do It”, Scandal’s “Just Let Me Dance”, K.I.D.’s “Don’t Stop” and Mike & Brenda Sutton’s “We’ll Make It” among others. This proved to be a fortuitous direction and by the end of 1982 Sam had scored high-profile successes with Vicky ‘D’’s “This Beat Is Mine”, Komiko’s “Feel Alright”, The Evasion’s “Wikka Wrap”, K.I.D.’s “Hupendi Muziki Wangu?! (You Don’t Like My Music)” and the sumptuous “Dreaming” by Greg Henderson. Sam’s impressive dance hit tally continued into 1983 with further successes like Steve Shelto’s pumping “Don’t Give Your Love Away” and Klassique’s “Somebody’s Loving You” before the label wound down for much of the next decade. Over the ensuing 30+ years Sam’s 70s and 80s releases have seldom been off DJs turntables whether via the Disco, Rare- Groove and Electro scenes or by the almost relentless re-edits that appear of Sam’s main output throughout this period. ‘Sources: The Sam Records Anthology’ continues the run of comprehensive anthologies of the most important labels in the evolution of Dance music.

Detroit pioneer Robert Hood joins Radio Slave’s Rekids label with a new album entitled ‘Mirror Man’ this November.

A founding member of Underground Resistance alongside Mad Mike Banks and Jeff Mills, Robert Hood is one of techno’s originators and his decorated career spans three decades. The American artist and his M-Plant label laid down the blueprint for minimal techno and 1994’s ‘Minimal Nation’ on Axis was a definitive album that further cemented Hood’s reputation as one of the greats to emerge from the Motor City.

Since then, Hood has gone on to release on many of electronic music’s best labels like Tresor, Peacefrog, Music Man Records, Dekmantel and more. After a busy few years making music and touring as Floorplan alongside his daughter Lyric, Hood now joins Rekids with an album showcasing his innate knack for crafting paired back but intricate rhythms that deliver punch and soul.

Opening with the cinematic ‘Through A Looking Glass Darkly’, the album quickly flows into precise, powerful four four. There’s mesmerising cuts such as ‘Fear Not’ with its throbbing bass and spectral vocals, the twisted and off-key ‘Run Bobby, Run’, not to mention muscular tracks designed to light up dancefloors like the machine driven ‘A System of Mirrors’ or the mesmerising ‘Face In The Water’. Hood also breaks things up with downtempo and mind-bending interludes, including the tranquil yet spooky ‘Black Mirror’ and the beatless and murky ‘Freeze’. Each of these are aural feasts that demonstrate his vast musical pallet.

From start to finish ‘Mirror Man’ is an education in finesse from one of techno’s most heroic artists, landing on one of electronic music’s most important labels.

Honey Dijon commits four cuts from her forthcoming ‘Black Girl Magic’ album to wax for a very special 12” release, previewing a number of the darker, Chicago-influenced tracks ready for club play. Featuring the acclaimed single ‘Work’ as the opener, an ode to Honey’s love of jazz that slams on the dancefloor with Dave Giles II, Cor.Ece & Mike Dunn on vocal duties, the release has already been supported by tastemakers of the highest order. Three previously unheard cuts follow, with Honey’s magical collab with Compton royalty Channel Tres ‘Show Me Love’ joining the A-Side. On the flip, ‘C’s Up’ comes as a dedication to her hometown, co-produced with Berlin-based Jimmy Edgar and featuring fellow Windy City native Mike Dunn, merging Edgar’s signature ‘hybridization’ of genres with trademark Chicago soundscapes. Closing out the package with the intergalactic club heat of ‘Don’t Be Afraid’, where hypnotic bleeps and a relentless bass are brought together with the commanding vocal of rising star LATASHÁ and Wojciech from Catz ‘n Dogz on co-production duties. Demonstrating Honey’s magnetism for the most forward-thinking and relevant artists and creatives, ‘Let’s Work’ showcases her diverse, boundary-pushing sound at its very best.

Mona Yim debuts on Rekids with ‘Gotta Do This, Gurl’, featuring remixes from Radio Slave.

Born and raised between Singapore and Germany and now based in Berlin, Mona Yim spent time bouncing between the clubs of London, Berlin, and Paris while honing her craft, culminating in a recent remix for DJ Seinfeld’s ‘Tell Me One More Time’ on Ninja Tune. Now readying her debut solo release on Rekids, Mona Yim delivers two dreamy house cuts for the imprint, backed with a pair of remixes from label-boss Radio Slave.

Leading the release, ‘Gotta Do This, Gurl’ brings crispy, bouncing drums alongside moody pads and subtle vocal chops, building up to an emotive breakdown. Radio Slave beefs up the drum patterns with breakbeats for his remix, adding additional atmospheric FX to existing melodic elements for a chunky, driving track.

‘Dots Obsession’ sees floaty percussion, gentle synth work and vocals working in tandem to craft a soft yet evocative house jam. Injecting a pumping 4/4 pattern alongside elements of the original, Radio Slave’s interpretation brings the energy levels up with pitch-perfect dub FX and swirling synthesis.

Great collaborations make the music outstanding! Guy Mantzur and Tamir Regev have produced some inspiring tracks together in the past, but nothing as powerful as their new two-track material. The sixth release of the label Moments brings the cutting-edge perspective to the art form. The opening song features Kamila, famous for singing the classic Children With No Name by Guy and Khen. Her powerful voice and charismatic performance once again make a significant difference!

Guy and Tamir deliver the promise and poise to evolve the genre and simultaneously maintain its roots. Together, they blended sentimental lyrics, memorable hooks, and just enough dance floor-ready sauciness to get listeners spontaneously dancing along.

Guy and Tamir's out-of-the-box approach is even more impactful on the second track. Synthetic melody lines, smooth baselines, and sassy rhythm sections create an exotic atmosphere with a dose of calypso.

Although rooted in organic house and melodic techno, the label Moments has stamped its watermark across the full range of underground dance music, winning the hearts of fans across the globe. Check it out!

Peggy Gou’s Gudu Records steps into 2022 with Brain De Palma’s second EP for the label, Purple Brain.

Although this is only his second release under the Brain De Palma name, Alexei Versino has been honing his sound for the best part of a decade, both solo (as Panama Keys) and as one half of the duo Stump Valley, previously releasing on labels like Dekmantel, Soul Clap and Off Minor. Born in Ukraine but settling as a child in Turin, he’s currently based in Berlin and makes up a key part of the Gudu stable.

Coming straight out the gate with an instantly impactful bassline, opening track ‘IQarus’ sets the tone for the rest of Purple Brain: bold melodies and basslines shot in high-definition, full of detail and idiosyncrasies. As with his last EP for Gudu, cinema is a key reference for Brain de Palma: ‘IQarus’ is a reference to his directorial namesake’s first film, while later in the EP, ‘(O.W.D.) Once Were Dancers’ nods to the 1994 drama Once Were Warriors, “dedicated to all the ravers, DJs, aficionados who had to go through the lockdowns … a shout out to people who keep on fighting for the underground culture!”

Elsewhere on the EP, ‘Purple Brain’ pairs an unforgettable arpeggio with stargazing stabs and a marching cowbell beat, while the Netherlands’ Deniro takes ‘IQarus’ into the depths of the night with a cosmic remix that grabs hold of a groove and refuses to let go.