'Night Of The Endless Beyond', the sophomore album by Lord Of The Isles AKA Neil McDonald for the ESP Institute, had almost become a mythical piece of work. The tracks very slowly crept into formation from the lowest depths of 2021, and once the completed album finally made the leap from creation into manufacturing, an entirely new onslaught of follies and delays awaited at the pressing plant. We began to laugh, for not only did Mario Hugo’s otherworldly sleeve artwork visually translate this music so well, but it was an uncanny premonition to the album being lost in space, falling through a black hole, evaporating into the aether like a dream that never really happened. But, at long last, ground control has confirmed contact! It did happen, it will arrive, and it’s not a myth.
Listening to 'Night Of The Endless Beyond' now feels like the return of a strayed friend, one whose distance left us pining for an embrace. Although this Techno relies on unassuming means, there is a remarkably complex and persuasive emotional statement embedded here, insisting we learn to endure the long game and allow ourselves patience to investigate and appreciate the minutiae contained not only within the notes, but their negative space. From its introduction, through its mellow crests and valleys, there is a conveyance of restraint — subtle dynamics that quietly beg for attention, repetition so hypnotic that imaginary melodies are inescapable, transient peaks so deliberately scaled that we mourn the subsequent decay. In accordance with Neil’s ESP debut, 'In Waves', we never feel attacked by instrumentation but shielded from sharp edges, able to step inside the music, breathe the air it occupies and know its true intentions, whether bright or bleak.
Just prior to the album close, a film dialogue excerpt summarizes everything quite honestly by proposing, “The truth of the universe is waiting … the truth of what is … it’s all going to go away … everything … into blackness … the void … and nobody is in charge.”
“…and what do you do with that?”
We stare long into the 'Night Of The Endless Beyond' and answer… “You smile.”

Classic Music Company are proud to present Black Girl Magic, the highly anticipated sophomore album from the inimitable Honey Dijon. An artist in every sense of the word, across 15 tracks of attitude, energy, heart and community, Honey demonstrates a broad range of disciplines and influences, enlisting A-List collaborators such as Channel Tres, Eve, Pablo Vittar, Josh Caffe, Mike Dunn and more for an unmissable, boundary-pushing LP.

Redefining what it is to be a DJ in 2022, this year Honey’s production capabilities have been enlisted by the upper echelon of musicians. Producing two records for Beyonce’s chart-topping album Renaissance and remixing lead single ‘Break My Soul’, as well as working in the studio with Madonna on new material. Now unapologetically expressing her own sound on Black Girl Magic, she unveils the next chapter of her development as a producer and songwriter.

Since the first teaser of the album, the BBC Radio 1 playlisted collaboration with Atlanta singer-songwriter Hadiya George ‘Not About You’, to the most recent single ‘Show Me Some Love’ featuring Compton royalty Channel Tres, the Black Girl Magic project has consistently illustrated Honey’s dedication to profiling diverse vocal talent. Shining a spotlight on a new generation of queer people and people of colour, Honey’s intentions to “keep this culture in the conversation,” are demonstrated with the featured artists on the LP.

Behind the scenes Honey has worked closely with Classic Music Company founder and close friend Luke Solomon, as well as regular collaborator Chris Penny on the production of the album. Her most adventurous and explorative output yet with a diverse range of influences, Honey’s Chicago musical upbringing is a driving force behind the LP, with her sights set on demonstrating how she first experienced the music of her hometown felt deeply across the record.

Working with British sculptor Jam Sutton, an artist who explores the relationship between technology and antiquity, 3D sculptural digital renderings of Honey have formed the artwork for all preceding singles leading into Black Girl Magic. Exploring identity, form, technology and classical portraiture, the artwork for the album comes as the final piece in the series of bespoke displays of Honey.

From her stratospheric DJ career, to her fashion line with COMME des GARÇONS: Honey Fucking Dijon, to soundtracking some of the most iconic fashion shows of the 21st century, Honey’s influence is felt far and wide across the worlds of music, fashion and art, with Black Girl Magic a powerful physical statement of her interdisciplinary artistic impact.

Ian Pooley returns to Rekids with Studio A Pt.3 this September.

The third and final entry in a three-part release series based on his studio, Ian Pooley’s ‘Studio A Pt. 3’ for Radio Slave’s imprint sees him drop yet another set of bumping, hardware-focussed tracks.

Leading the A-side, ‘PSS480’ combines swinging drums, modulated low end, and trippy bleeps for a party-starting house track. ‘SP12 Electric Mistress’ brings flanged-out drums and lush pads together for a wonky yet driving cut. On the flip, ‘Viola’ sees Pooley heading toward heavier territories with rumbling kicks and heaving synths forming a pumping techno track before the ‘303 Version’ of ‘SP12 Electric Mistress’ closes out the EP, introducing tweaked-out acid lines and freaky FX to the original version.

Active since the early 90s, the German DJ/producer has released on the likes of Force Inc, V2 Records, and his own Pooledmusic, remixing for the likes of Deee-Lite, Carl Cox and many more, as well as being one of the few to be remixed by Daft Punk.

San Diego born and raised DJ/Producer, Dillon Marinez, today releases his latest EP ‘Wormhole’, out now on Dirtybird.

Curated by Claude VonStroke, the compelling two-track project presents a dynamic soundscape showcasing the sonic duality of one of Dirtybird’s newest rising stars. The chaotic, high-energy sound of its titular track ‘Wormhole’ is instantly mesmerizing, while its companion ‘Facelift’ is a deep, rolling burner.

Regarding the EP, Dillon Marinez said, “My first [Dirtybird] Campout inspired both tracks. Claude’s set especially was full of some thick stabby bass which was right up my alley. This sound gave me an idea for each lead and the rest flowed naturally.”

Continuing to grow as a consistent member of the Dirtybird flock, Marinez’s latest EP, ‘Wormhole’ marks his fifth release on the esteemed label following last year’s ‘No Pressure’ EP and earlier singles like ‘Dance For Me.’

Taking inspiration from funk, hip hop, and reggae, Marinez credits his father and brother for exposing him as a kid to the multi-genre sounds that shape his music style today. A bassist since childhood, it was only natural for Dillon to be drawn to the ebbs and flows of house music. Learning Ableton in college, Marinez was able to incorporate a blend of rhythmic elements to create his unique bass lines and incredibly catchy beats known to captivate crowds.

Releasing music on Dirtybird marks a full circle moment for Dillon, as he has previously named Dirtybird’s artists Justin Martin and Shiba San as major sources of inspiration for his music.

Marinez invites fans to join him on his rhythmic journey and stream ‘Wormhole’ today.

A meeting of the minds between two Israeli DJs and producers. Adam Ten & Mita Gami release a combined two-tracker in September on Crosstown Rebels, dipping into dark and hypnotising waters while maintaining a club-cut aesthetic.

The pair pen a slow-burning chugger on the title track, merging tones of tech house, progressive house and techno. A high-pitched vocal weave’s throughout, in tandem with a distorted synthline and oddball sound FX—one for a wavey dancefloor. On the flip, Night Shift glistens with emotion as tribal-tinged percussion collides with long, drawn-out piano notes. A cosmic creation that blurs the line between melancholia and warmth.

Adam Ten is a Tel Aviv-born producer and resident DJ of institutional club The Block, located in his home city. Ten is a key artist on the Israeli scene, recognised for his all-night sets that blend a myriad of moods in electronic music. He’s played worldwide, spanning stints in Miami, Cape Town and Mykonos, amongst several other regions, and he’s channelled his compelling sound on labels like Diynamic, Multinotes, Disco Halal and Selador. As a co-founder of the event series TERRA, Ten curates some of the finest nature-orientated parties in Israel. Mita Gami hails from Tel Aviv. A multi-instrumentalist from a young age, he goes beyond the trope of entertainer. Instead, Gami invites his audience into immersive and almost trippy journeys during his performances via a hybrid set-up and enticing energy on-stage. Releases on REALM Records and Diynamic display his metaphysical approach. Beyond producing, Gami co-runs the label Blue Shadow Records and the Sunrise Kingdom area in Midburn Festival, based in the Negev Desert in Israel.

Timmy Regisford’s discography reads like a virtual timeline in the evolution of House. He’s been a central force since the genre first began in shaping the sound and helping it to become the worldwide cultural phenomenon it is today. Recently inspired by the afro-centric musical movements that have become increasing popular, he has gone back into the lab and created a collection of songs that are destined to move the genre once again.

Highlights of this essential double pack vinyl collection include “Good Morning,” which is an homage to his legendary Shelter parties that always last deep into the morning hours, “Hamballla” which features an inspired vocal performance from future star Toshi and the memorable “Hotel Cali” amongst many others.

Red Axes continue their long-term dancefloor relationship with Phantasy and boldly embark down the ‘Rhythm Passage’, another triple-hitter of charismatic, out-there club music delivered only as they can. 

Beginning with the title track, ‘Rhythm Passage’ all but guarantees slowly escalating madness in disco spaces both vast and discreet. Weaponizing hypnotic percussion, dusty samples from rave eras gone by and all manner of classic Axes studio trickery, this seductive banger slowly, shrewdly unveils a visceral synth-pop melody that touches the heavens, before being quickly absorbed back into the bowels of the club.

In the hands of Red Axes, even a relative DJ tool is a cosmic journey, as demonstrated on the escalating ‘Oh My Arp’, which finds a collection of the finest analogue musical machinery in electronic music conspiring to fry synapses, with traditional Tel Aviv musicality unexpectedly emerging from deep in the mix.

Finally, ‘20Min’ sees the pair turn their attention to both percussive control and their penchant for suspense, using relatively minimal elements to conjure a liquified roller full of dense, subtle drum play and distinctly psychedelic touches.

Belgian techno powerhouse Charlotte de Witte has unveiled brand-new EP ‘Apollo’, out 14th October on her own KNTXT label.

An uncompromising collection of club tracks, ‘Apollo’ opens with ‘Missing Channel’, a turbo-charged acid techno cut pairing pumping kick drums with squelching 303s. Next up, the title track shifts things into warehouse techno territories, juxtaposing bludgeoning kicks with haunting, ethereal vocals, while ‘Mercury’ cultivates a striking interstellar energy. Closing things out, ‘PPC’ is by far the record’s most experimental track, a shimmering, beatless creation laced with samples of space transmissions.

"The vastness and solitude of space always interested me. A compelling contrast between monumental power and the vacuum in between.” Charlotte explains. “This diversion can also be found in techno music, a pure simplicity divergent in power."

Charlotte de Witte has become known for her dark, stripped-back brand of techno, acid and anything high energy. She’s often crossing borders but maintains a deep form of respect for the underground. Highlight performances across the continents - including being the first techno (and female) DJ to headline the mainstage at Tomorrowland - Mixmag and DJ Mag covers, high-ranking positions in the charts and lists confirm her status as nouveaux techno royalty.

Heavy, breakneck club fodder, ‘Apollo EP’ is Charlotte de Witte at her bold and brilliant best.

Lady Tazz launches Mind Medizin with collaborative EP alongside Gotshell.

Curated by Canadian Bangladeshi producer Lady Tazz, new project Mind Medizin will meld music, art, and fashion, illuminating techno’s hypnotic and ethereal side. ‘Serpent Kiss’ is the imprint’s first release and a collaboration between labelboss and Columbian techno ambassador Gotshell, whose previous work includes releases on BPitch Control and KMS Records. With both artists both known for their classic take on the genre, this first EP serves up a melting pot of influences spanning the experimental and shadowy side of techno.
Title track ‘Serpent Kiss’ is a journey down the rabbit hole boasting full-bodied, industrial bass as ominous pads feature throughout. Samples of tripped-out glitches and bleeps add to this hard-hitting track’s chaotic elementThe trip continues with second production, ‘Dominatrixx’. Alarming loops and aggressive machine-like kicks build throughout as eerie female vocals offer a dreamlike quality to the production. The combination of elements makes for an otherworldly track, showcasing a fine example of both producers’ styles.

The landmark hundredth single on Phantasy, Erol Alkan’s ‘Automatic’ accompanied with two remixes that further take the London DJ and producer’s psychedelic club vision in distinct directions. The original 12" pressing, limited to 100 and hand-numbered, sold out in less than an hour.

Palms Trax builds on the sensual reverie of Alkan’s production with an electrifying rework full of touches both French and personal. Throwing out a gloriously chic bassline, the Berlin-based producer sprinkles carefully considered sweeps, stabs and filters on a trip to timeless house euphoria.

Mirroring the first ever artist to release on Phantasy in 2007 where Alkan remixed 'Engine', LA Priest proves a perfect candidate to reconstruct the label’s centenary single, a task he approaches with typically esoteric nous. Coaxing a heavenly aura from the original’s glorious loops, Sam Eastgate’s collection of reengineered and self-made analogue equipment soon progresses to melt Automatic’s rhythm into sticky cosmic bliss.

Damian Lazarus’ imprint Crosstown Rebels will release a solo EP by German DJ and producer Jonathan Kaspar in August. Transcending melodic techno and sultry house, the 4-track Overfree release echoes the cinematic but club-driven aesthetic of the Bonn-born artist.

Enter the rabbit hole through the title track and its constellation of starry synth notes and a chugging bassline. Magic. Ten floats in next as a slow-burning melody curls around a bleepy percussive pattern. On the flip, Kaspar goes deep via Piece Of, as staccato piano notes and a soft kickdrum evokes ethereal textures, the kind that marks the end of an all-night-long DJ set. Kaspar collaborates with Canadian singer and songwriter Graham Baxter on the closing track Unify. It's a sublime meeting of the minds as Baxter’s ghostly vocals collide with Kaspar's dreamy grooves and rippling bassline. Surreal synergies, made with the dancefloor and introspective listener in mind.

Jonathan Kaspar is a Cologne-based producer and DJ with an evolving collection spanning Cocoon, Innervisions and Kompakt. Kaspar's roots in dance music stem from his student days studying medicine, when he promoted parties in his native Bonn, Germany, to fund his studies. After graduating, he followed a winding road in producing and DJing and delivered his debut release on Upon You Records in 2015. A slew of solid releases followed suit on Objektivity, These Eyes, ouï and Kompakt. Like his productions, Kaspar's DJ sets convey stories, stitching a range of atmospheric tones and tingling melodies that capture his audience's imagination. He garners a residency at Cologne's esteemed Gewölbe club and enjoys curating all-night-long sets and inviting international names to play alongside him. Beyond Cologne, Kaspar's played at German institutions Watergate, Kater Blau and Fusion Club, as well as Volt Club in Milan, T7 in Paris and Extrema Open Air in Hasselt

Jamie 3:26 and emerging Dutch artist Danou P welcome the next phase of their heady union with a timeless EP on Dan Shake’s imprint. ‘What It Is’ exhibits just how good the music can get when the synergy between two artists is on point, each track pureving an exhilarating atmosphere, and expansive journey. ‘

‘What It Is’ spreads across three tracks that make up over 34 minutes of music, brimming with peaks and valleys, Danou’s keys elevating Jamie’s authentic beats straight from the heart of the Chicago dancefloor. Dan Shake pays respect to the roots of electronic music through the music he makes, plays and releases, and has been patiently waiting on original material from Jamie for the label since ‘Were You Ready For That’ edit on Shake Tapes in 2018.

Kicking off the EP is ‘Roy Layers’ based around a particular chord Roy Ayers used in his music.
Like a rocket climbing through the atmosphere with Roy Ayers behind the wheel, and you are hitching a ride with him through the galaxy. “It’s the perfect example of what it sounds like when we really hit it off during a session. The creative juices start flowing and a track could almost become endless.” - Jamie and Danou P

Bushman Boogie’, is a late night track with a deep sound made for dark and sweaty underground spaces. “I remember searching for animal sounds for this track. It had such a vibe to it with drums that sound like they are disappearing into the jungle at the end. It felt fitting to top it off with some actual sounds from the jungle. I hope it‘ll make people feel extra animalistic when they dance to it” - Danou P

‘Rug Burn’ does exactly what it’s there to make you do “dance your ass off and burn a hole in the rug!” Says Jamie “I always create music from a dancefloor perspective, because that's where I started, on the other side of the booth. I know what's gonna move me emotionally and physically, and so I’m not gonna make anything that's not gonna make me shake my ass!” Danou P - “Jamie always pushes me to be extra funky, to a level where I didn’t even know I had it in me. This is exactly what he did when I laid down the organ on this track”

Jamie and Danou first came together in the studio four years ago when Jamie brought him in to play keys on some of his tracks. Jamie quickly realised the energy between them was too special just to leave it at that, and started nurturing Danou’s talent. A deep brotherly connection was formed in and out of the studio, and it’s what Jamie believes creates the magic that permeates into the music they make, already with an impressive catalog of remixes together for HiFi Sean & Crystal Waters, DC LaRue’s ‘Cathedrals’, and most recently for Defected’s Nigel Lowis 'Brotherly Love’.

Four of DFTD’s latest releases have arrived on wax for the very first time. The A-side begins with Darius Syrossian & George Smeddles’ collaboration ‘Back In The Dance’. This uplifting dancefloor-ready groove with ‘90s influences marked a solid return to the floor after a long lockdown, and quickly became a favourite of top selectors. Next up on the A-side is the Transcriptions Mix of youANDme’s raw DFTD debut: ‘Moment’. Released in collaboration with Georgian singer-songwriter Kristina Sheli, this record cemented their status as contemporary powerhouses of the Berlin club scene. The B-side opens with OFFAIAH’s ‘Up All Night’, a fiery track that makes the perfect addition to any house set; the Las Vegas based artist continues to demonstrate his taste for catchy hooks and intense builds. The B-side continues with a record that has consistently dominated dancefloors throughout summer ’22, Marco Faraone’s powered-up remix of R.E.A.D’s ‘Where’s My Phone?’ featuring Sailor Jane, which closes out the package.

First, we had Unity. Now, South Sudan’s undisputed ‘King of Music’, the Juba-via-Melbourne eccentric outsider Gordon Koang, returns with his second full-length of original material since emigrating to Australia, the masterly titled follow-up, Community.

Eight tracks recorded in Melbourne with a cast of the city’s finest musical minds, including Zak Olsen, Jesse Williams, David “Daff” Gravolin and Jack Kong, the record draws upon Gordon’s pitch-perfect pop sensibility and compulsion for composing irresistibly catchy melodies. Add to this brew the extensive creditienals of his collaborators, who are known for their work with Trafik Island, ORB, Leah Senior and more, and you have yourself a perfect blend of East African pop and vintage psychedelia that is surely one of the most interesting records of the year, outstripping it’s Australian counterparts both in songwriting, production value and downright good energy.

After seeking asylum in Australia in 2012, Gordon Koang, along with his cousin, collaborator and bandmate Paul Biel, has gone on to become something of a darling in the Melbourne music community, delighting audiences year round with high energy shows and an irresistible enthusiasm. The pair have settled in the city’s outer suburb of Frankston, where Koang sits in isolation at home while Biel goes out to work each day; he was born blind, and has never seen neither his homeland in the Upper Nile Valley of South Sudan nor his new home on the streets of Melbourne.

This has done little to stop Koang channeling his creativity energy into music; he writes incessantly, and Community marks the twelfth full-length album of his career and his second since arriving in Australia (the previous ten currently lost to the streets of Juba in CD and cassette form - sure to be unearthed one day by Western tastemakers!)

His years of waiting for permanent residency in Australia, and prior to that of Civil War and unrest at home, have done little to dull the bright point of Koang’s positivity. He is without a doubt the man with the biggest smile in the room. A few short minutes with Koang will leave the listener walking away in a daze, his trademark phrases and bouncing laughter echoing for weeks. Community does for listeners what Koang can’t do himself - it reaches out to thousands around the world, providing him with a platform to personally greet and smile at each individual, to share a few words of encouragement and a quick observation about the warmth of the sun, or pleasure in simply being in company. If there is a silver lining to be found, chances are Gordon has already written an album about it.

The record is warm, fuzzy, catchy, lighthearted, and it packs a punch. It rocks hard with the best of them, Olsen’s beautiful production value drawing out the best in Koang’s eccentric and spiralling melodies, the band grinding themselves into an endless groove before bursting into some new impossible melody. Somewhere between William Onyeabor and King Gizzard, this is surely the soundtrack to round out what has been an incredible year of music post-pandemic.

Community is out everywhere Friday, November 11 via Music in Exile / Above Board (UK/EU) / Polyvinyl/Dispatch Dept. (North America).

Music in Exile is a not-for-profit record label and artist services company based in Melbourne, Australia, championing stories of culturally and linguistically diverse musicians and striving for a music industry that fairly represents all in our society.