NOW CLOSE YOUR EYES, PAUSE QUIETLY FOR A FEW MOMENTS, AND BE HERE NOW. ATTUNE YOURSELF WITH YOURSELF AND THE UNIVERSE AND, SO, WITH ALL OF US. IF YOU ARE MOVED BY THE SPIRIT, THANK YOU FOR SHARING THE SPIRIT WITH US.

Following a hugely successful inaugural release, Sangiuliano’s forthcoming “Sound Of Space” EP was quickly circulated across the festival scene, with the title track becoming one of the most hotly-tipped Track IDs of the summer. Continuing the label’s strong undercurrent of evanescence, Sangiuliano’s second chapter explores the effects of space and physical surroundings on our experience of music. Space is a concept we continuously interact with in music, whether we live it subconsciously or not. It’s a vital component in our perception; altering the expression of the music to the listener’s surroundings and functioning as an interactive field. Before the development of recording equipment & technology, music’s environmental characteristics were defined by the space in which it was performed, and as such, Enrico’s latest offering aims to revive this practice in music. To wholly pervade the senses and demonstrating this concept first hand, the 2-tracker will be also available in spatial audio, giving listeners a 360-degree infiltration of sound.

Lag & X-Coast announce collaborative project XL Traxx.

Lag is a DJ/producer who has previously released on MORD, THEM, Elements, and Don’t since his first 12” in 2013. X-Coast has released on Steel City Dance Discs, Unknown To The Unknown and his own Riviera Records following his smash debut with the 90s-tinged ‘Mango Bay’ in 2016. Teaming up for the first time, the Serbian duo unleash their new project XL Traxx with a fierce three-track EP on Radio Slave’s Rekids.

Leading the release is the energetic ‘M-Bomb’, bringing heaving kicks, rave stabs, and vocal snippets together for a rowdy affair. On the flip, ‘E-Dancer’ sees clever sampling and atmospheric pads meet over pounding drums before the propulsive ‘D-Edge’ rounds out the vinyl with slick synthesis and shuffling
percussion.

Israeli artist Moscoman returns to Damian Lazarus' Crosstown Rebels imprint with Adventura, featuring a collaboration with alternative and electroclash band Zoot Woman and a remix from Love Attack label bass Alan Dixon. Transmitting twinkling house to emotive indie dance, each artist leaves a stellar stamp on Moscoman's sinuous release.

As summer draws to a close, Moscoman looks forward to the next chapter in his trajectory, undeterred by the change of seasons. The title track opens with a muscular kickdrum and organic percussion before an enchanting melody glide between the beats, igniting a dreamy, tripped-out feel. It's made for an open-minded dancefloor. Moscoman collaborates with Zoot Woman on Reinvention feat. Zoot Woman, blending the airy vocals of Johnny Blake with a shimmering synthline. One for the indie heads. Alan Dixon's remix follows suit with a cosmic disco offering, reworking the stems with verve and serving a slice of strut energy.

Moscoman is a producer, DJ and label boss. He heads up the imprint Disco Halal, showcasing the sounds of house, nu-disco and post-punk supplied by artists from all walks of life. With an ear to merge traditional tones from different dance music cultures worldwide, Moscoman garners an explorative approach to Disco Halal. So far, the label's discography boasts tunes by Simple Symmetry, Red Axes, Trikk and Auntie Flo. His DJ sets slink into long, storytelling sessions of low-slung grooves and post-punk flavoured beats, as heard in Space Miami, Panorama Bar, Glastonbury and Pacha Ibiza, amongst other iconic spots. British act Zoot Woman consists of seminal producers Adam Blake, Johnny Blake and Stuart Price. Since the mid-90s, the group have produced and performed electronica, alternative, electroclash, rock and synthpop. Acclaimed for their scintillating live shows, the group remains one of the most remarkable bands from the UK. London-based Alan Dixon is a producer and DJ celebrated for his disco edits. Labels like Watergate, Life and Death, Keinemusik and Pets Recordings have released his tunes alongside his own imprint, Love Attack.

Trailblazing Spanish techno DJ and producer Indira Paganotto inaugurates her new label Artcore with a vigorous EP. Spanning a distinctive fusion of techno, psytrance and flamenco, the imprint’s stellar debut showcases Indira’s free spiritedness and open-minded approach to making music.

An outpost exclusively for her own productions, the launch follows a string of releases via prominent techno labels KNTXT, Second State and Octopus Records. Driven to present her artistic evolution to the world, followers can expect to find Indira shrewdly combining her techno skills with more instrumentals, as well as unique genre clashes.

"For me, my music is a state of trance,” Indira explains. “Each track has to tell a lot of stories with sensitivity and romanticism while looking backwards to our roots and forwards to visions of the future. My Guns & Horses EP is a mixture of my 12-year career, my experiences in different countries, my love for Asian culture and respect for my Spanish roots - flamenco!!! It also speaks of my passion for psytrance, a gift inherited from my father who spent more than ten years in India and was the one who instilled this sound and lifestyle in me.”

Opening track 'Jambo', is a slick roller which sees techno meet flamenco and a Spanish gypsy essence. Rippling with sounds that reach across frenetic flamenco guitar playing and psychedelic basslines, it’s one of Indira’s most distinct works to date. 'Guns & Horses ' is an arresting affair, with psychedelic synths, breakneck beats and exhilarating female vocals set to take listeners to another dimension. 'Angara Bebesi', the darkest cut on the EP, goes for deep, sleek techno with high-octane basslines, while the decisive beats and unrelenting drums of ‘UZI’ cuts in to close the EP. Bringing through powerful vocals, unexpected animal calls and twisted psytrance-tinged melodies, it lands designed to mess with your mind.

Italian-born artist Riva Starr collaborates with New York-based DJ and producer Todd Terry on This Is The Sound. Previously, the pair have remixed each other’s solo productions, but their joint project on Hot Creations signifies a new beginning for the acclaimed producers.

Together, the pair bring Riva’s vision to life on the title track, weaving a classic-house-tinged melody with crisp claps, penning an irresistible groove. Peak-time in every sense of the word. Riva Starr serves his solo offering on Creator, evoking a darker vibe. Chugging drums thump between a squelchy acid melody, paying homage to the birth of acid house in the late 80s, chopped with more contemporary textures.

Based in East London, Riva Starr’s roots lie in Naples, Italy. Having moved to London in 2008, Riva immersed himself in the UK tech house scene, playing across the country in Printworks, Motion, and Orange Yard to further afield in Pacha, Watergate and Space Miami. As a multi-dynamic producer, Riva’s discography boasts remixes of work by Dennis Ferrer, Fatboy Slim, and Claptone and solo releases on Defected, Black Book Records and his own Snatch!Records imprint. Grammy Award-nominated artist Todd Terry is a stalwart on the global house scene, breaking through in the mid-90s with the classic house heater “Keep on Jumpin” ft. Martha Wash and Jocelyn Brown. Since then, Todd has produced a colossal body of work on Defected, Inhouse, Freeze Records and several others, keeping his sound aligned with his New York heritage and reinventing it with a fresh flavour.

South-east Turkey born DJ, sound artist and producer Banu uses music as a political tool. For her, the strong message carried through sound is a vehicle to express emotions as well as a means of fighting against oppression. Using participation, social design, ecology, feminist and queer theory to create multimedia installations with sound as a main element, Banu‘s practice is closer to contemporary art and activist spaces than the club realm.

Banu‘s debut album TransSoundScapes is an exercise in female solidarity between her as a migrant woman and her sisters from the trans community, where an artist from one marginalised group is showing support towards her trans sisters, using her platform to help them amplify their voices and building a bridge towards a mutual understanding of femininity.

Conceptually, TransSoundScapes comes in continuation of Banu‘s previous research-based work, using music as a positive tool for change while working with various marginalised communities. The album originated from the very real experience of being confronted with verbal harassment in Berlin on a daily basis, particularly aimed at her transfeminine friends and companions. As a queer woman of Turkish and Kurdish origin, Banu did not only observe the verbal aggression directed at her friends, but also understood most of the insults shouted in languages such as Arabic. Seeing how she got signifi cantly more verbal violence directed at them when in company of trans people made a lasting impression on her, so she wanted to try and use her relative privilege to amplify transfeminine voices through her music.

Coming from a very conservative family, making music has been her lifelong dream. It was the moment she had the opportunity to work with the iconic Arp 2600 synthesiser (a younger sibling to Eliane Radigue‘s infamous 2500 machine) that all her disparate interests came into place to create an empowering soundscape with the aid of analogue drum machines. TransSoundScapes has a very full, porous sound, where every element that comes into play sounds soft yet clear. Across the 7 tracks, Banu conjures pounding subterraneous bassy techno („Surgery“), slithering tentacular EBM („First Time“) and pulsating cavernous soundscapes („Harem“), where oversized dancefl oor elements are woven with poetic spoken word passages, resulting in sensusous yet political anthems. Banu artfully merges loosely related genres such as techno, electro, dub and sound poems into a sound that is at once deeply personal and extremely compelling.

All of the tracks are collaborative efforts, Banu seeing the process as an exchange of care and shared experiences, while integrating research into her writing process. The lyrics in „Transition (part 1+2)‘‘ are an adaptation of Sara Ahmed’s “Living a Feminist Life”, while „Surgery“ was born out of series of interviews with trans people, channeling the metallic sounds of a surgery room to refer to society‘s perception of transness as a medical condition. Tracks like „First Time feat. Patricia“, „Harem feat. Prince Emrah“ or „We feat. Aérea Negrot“ document her encounters with various trans women, centering their life experiences while also developing a deep dialogue through the process of making music together.

The darkest and perhaps the most emblematic track is ‚‘Bianka (In Memory Of)‘‘, dedicated to the late Bianka Shigurova, a 22-year old Georgian actress found dead in her apartment. It was her Tbilisi photographer friend George Nebriedze who told her Bianka‘s tragic story, whose death is suspected to be an assasination due to transphobia. Banu chose one of Nebriedze‘s analogue photos of Bianka as the album‘s cover art.

Joe McBride AKA Synkro has built up a hugely impressive catalogue of releases over the last few years. Via albums and singles for Apollo, Exit Records and his own Synkro Music imprint, the Manchester based producer and sound architect has amassed a dazzling archive of elaborate, emotive and intellectual soundscapes drawing in influences across a spectrum of bass culture and electronica.

On the ‘Information’ EP, it’s business as usual, as Synkro deploys four fresh and forward thinking tracks that slither across the genres with ease. From the frantic percussion and dubwise tones of title track ‘Information’ to the absorbing textures and crackling ambience of the beatless opener ‘Cycles’, the attention to detail and the depth of layered sonics across all four tracks afford the listener a truly mesmerising experience. The dusty and dark skank of ‘Signal’ is a real mood piece, whilst ‘Last Breath’ closes the EP drenched in sanguine sentiments.

5 years after Ponzu Island’s huge debut with the iconic tune “Super Koto”, the Australian mysterious producer is back with the release of his much awaited long play album “Welcome to Ponzu Island”.
He remains faithful to his unique trademark sound which makes him stand apart from the rest. The 9-track album is a wild ride of pure analog electronic bliss, build up with synths over synths. A unique blend of house, disco and electro; makes you travel back to the 80´s and the 90´s, and geographically you feel between Japan and the Caribbean. Simply a league of its own.