MUSIC

"Today's dancefloors are wakes in remembrance of a mythological era of openness that never was. Remember where you were. See where you are.... I'm in Kami-Sakunobe." (K-S.H.E) "Routes Not Roots" is the debut album by K-S.H.E (Kami-Sakunobe House Explosion), the newest project from internationally celebrated producer, label owner and DJ Terre Thaemlitz. K-S.H.E "Routes Not Roots" combines Comatonse Recordings' notorious "Fagjazz" sound with the classic NY Deep House and Cross-over dancefloor sensibility of "DJ Sprinkles' Deeperama," Thaemlitz' bi-monthly event held at Club Module, Tokyo. The results are spacious, bass-heavy, epic dance mixes filled with dark humor and harsh realities. As people have come to expect of Thaemlitz releases, "Routes Not Roots" mixes a wide range of social themes such as identity vs. immigrant status; community vs. tranny-on-tranny violence; authenticity vs. cultural decontextualization; openly gay African-American club imagery vs. gay sex on the Down-Low; innocence vs. childhood fantasies of violence; and more. From HIV drug trials to tranny and women's unemployment rates to sexually amorphous Japanese cross-dressers posing as high school girls, K-S.H.E doesn't miss a beat.

RGL is a Tokyo-based producer known for his lo-fi house productions and analog-textured dance music, with releases on labels such as Diskotopia and Breaker Breaker. His new work, Untitled, showcases a wide-ranging sonic palette: alongside rhythm-driven tracks, the release also features abstract drone pieces with little or no discernible beat. The result is a work that crystallizes RGL’s distinctive sensitivity to sound and texture. ---------------- Bio: RGL is a Tokyo-based producer and DJ. He is a member of the producer collective COSMOPOLYPHONIC and co-hosts the radio program COOL RADIO with fellow member RLP. In 2025, he released his debut album, Touzan, on the London-based label BREAKER BREAKER.

Coming in October. A groundbreaking compilation album showcasing Japanese techno-pop for a new era—『TECHNO KAYŌ VOL. 1 - JAPANESE TECHNO POP 1981–1989』—compiled by none other than Dubby, one of Japan’s most renowned record diggers and the mastermind behind the influential record shop ONDAS (a key force in the post-obscure revival alongside Organic Music and Revelation Time), and Antal, head of Rush Hour. From the neo-classical/mutant funk gem “Last Battle” by Kazuo Ōtani (of SHOGUN fame), originally featured on the obscure film soundtrack Koiko no Mainichi, to the balearic house anthem “MicroWave” by Kyōko Koizumi—culled from the now-revered cult LP KOIZUMI IN THE HOUSE—this album masterfully weaves post-balearic and obscure city pop perspectives. A curated deep dive into the rich and underrated legacy of Japanese techno-pop, brought vividly to life in the context of 2025.

Kuniyuki Takahashi's debut album, We Are Together, originally released on CD in 2006.

"Nearly two decades later, the album is finally seeing a vinyl release to commemorate the 300th title from mule musiq."

Felipe Gordon is back on Shall Not Fade with his new album Tezeta and f*ck is it special. Felipe Gordon is SNF label mainstay... (we released his triple repressed debut album "A Landscape Onomatopeya" in 2022 as well as 7 x 12" EPs on SNF over the years plus an extra 12" on Lost Palms)... so given his consistent and exceptional output on our record label you'd probably forgive some complacency with this write up, you might even afford us license to assume we're preaching to the choir and allow us to rest easy knowing that at this stage Felipe Gordon's records sell themselves.... Well none of those things are happening here because when an artist makes a record this complete, this good, you have to try to find the words. You use words like "timeless", "complete and "special". Words that can carry the weight. Because when you've listened to an album dozens of times, and not once, in any part, on any listen in any way has it fatigued you, you need to say. When a record felt so wonderfully familiar from the first listen and just kept on giving you the same feels ever since, you need to say. When a record makes you think about you how you feel about certain Air & St Germain albums (even when you know what it means to put that in a press release), you need to say. So here we are, saying these things.. Tezeta is a special record, one that exists in the rarefied air. A proper album. A record that every time you press play you will immediately remember why you own it and why you love it. A record that your subconscious will know so well that if shuffle is on you will know in an instant. An album that when it's in your collection and the first track starts you get a twinge of annoyance because you didn't listen again sooner and when the final track stops you stop too. Given paint and a canvas we can most of us paint a picture, but only those that are gifted can paint something that makes us feel. Tezeta makes you feel. Feel familiarity when it's playing, yearning when its not, and absence when it ends. This alone would be enough to make the argument as to why this album is special and justify the gushing opening paragraph of this press release. But we're not done yet. We don't really have a word in english for what Felipe Gordon has created with this album and how it makes you feel. "Tezeta" that word. Tezeta is a one of four musical modes within the traditional Ethiopian modal music system known as Qiñit. Mulatu Astatke, the father of Ethio-jazz, frequently uses this mode, often translating it as "nostalgia" or "longing". Gordon says Mulatu's own tezeta recordings convey to him "feelings of melancholy and longing from a point of affection". This is exactly the feeling Gordon has captured. It is what he has woven through every recording on this album. Tezeta is the prime ingredient. It's the base note in recipe, it's sprinkled over the signature jazz-sampled house tracks. It powers the vast array of synthesizers Gordon deploys. It underpins the explorations into trip-hop. It's present in Gordon's varied vocal deliveries and it tunes his guitar. It's in the running order. It's the flow. Tezeta is tezeta in electronic music form, with 4/4, breakbeats, samples and synths. Gordon says a big part of what differentiates this album from from his previous albums is that is was recorded in a period where he allowed himself to create music without the constraints of time or self-pressure which coincided with a moment of heavy personal growth which allowed him to reflect deeply on his work. There is a word in Portuguese "Saudade" that Gordon says has a similar meaning to Tezeta - Saudade is defined as a deep, sometimes bittersweet, longing or nostalgia for someone or something that is absent or lost. But here at SNF we think that in Tezeta nothing has been lost. Quite the opposite. Through Felipe Gordon's artistic explorations we have all gained something very special indeed.

Yuri Suzuki, the sound artist and designer known for creating works that explore the realms of sound through exquisitely designed pieces, has become completely captivated by that silver box. Toting that infamous box and relentlessly diving deep into the swamp of Acid House, he drops a new album after nearly six years in LP format. On this record, Suzuki's finely honed squelchy old-school 303 sound, tightly mastered by the sound alchemist Rashad Becker, unfolds with precision and points toward another possible tomorrow. Each track is a sketch, carrying you through a timeless landscape of rhythm and texture and reaffirming Suzuki's unique command over sound and space.

The musician and DJ Ken Ishii sits right at the pinnacle of techno's most noteworthy, but although a game changer for the artist personally - and for Japanese electronic music in general - his 1994 album 'Reference to Difference' is something of an unsung gem today. Now reissued and remastered, released to mark the 30th anniversary of Musicmine / Sublime Records, and available on vinyl with its original track-list for the first time, this stunning, lesser-known classic is ripe for rediscovery.

Third volume in Dave Huismans' stellar ex_libris series, further exploring the outer edges of deep house and leftfield music across three cuts in a total runtime of 25 minutes. The A-side offers up a rough-around-the-edges, spirited 4/4 beatdown epic, while the B1 & B2 venture into equally vivid world-building and fluttering wildlife curiosity. Limited edition - once again housed in lovingly hand-stamped, full-color sleeves. Design by Bernie van Vlijmen. Mastered and cut by Anne Taegert at D&M.

Ata Kak's cassette Obaa Sima fell on deaf ears when it was self-released in Ghana and Canada in 1994. The music on the recording - an amalgam of highlife, Twi-language rap, funk and disco - is presented with the passion of a Prince record and the DIY-bedroom-recording lo-fi charm of early Chicago house music. The astute self-taught song craft and visionary blend of sounds and rhythms has made the album a left-field cult favorite among adventurous listeners worldwide. Awesome Tapes From Africa founder Brian Shimkovitz found the tape in 2002 in Cape Coast, Ghana - one of only a few ever pressed - and later made it the inaugural post on the Awesome Tapes From Africa blog. Hundreds of thousands of downloads, YouTube views, music video tributes and remixes, as well as years of mystery regarding Ata Kak's whereabouts, culminate in this remastered release featuring rare photos and the full back story of one of the internet age's most enigmatic musicians.

Never Sleep charity tape series lands in the Athens on Spree for an era defying multi genre workout from 2005. Prototype Reaktor methodologist Errorsmith blows the dub techno expectations away with a mix released on his website and limited CDR that aligns itself as much with early Jackmaster or Diplo sensibilities as much as it does "Ron Hardy - Live at the AKA" purist panache. Recorded rapid fire Errorsmith sets the trends with liquid gold Dancehall, Jitterbug club, Grime and acidic Ragga. Challenging any Traxsource ambassadorship, complex concordance for the Soulseek pundit. Covalent bonding tones with granular paced blends, mystical loop rearrangements, combilising genre metamorphosis and "DANCE ON THE KITCHEN TABLE" NRG. Errorsmith switches gears, sets the expectations high and flows like the river Fuldas on a summer's evening A beautiful nano moment that allowed Berlin to breathe from a different musical atmosphere and dance to a less fixated rhythm. Errorsmith is known for his solo material, collaborative works as MMM / Smith & Hack, creator of the software RAZOR and is well known for MMM anthem Donna. A highly regarded futurist in the Germanic music industry and a beloved producer in Dance music's hierarchical pantheon. All proceeds go to Médecins Sans Frontières (MSF) who provide humanitarian care in crisis situations across the globe.

Gabber Eleganza’s Never Sleep serve a prime slice of ’94 house in effect: an hour and a half of soulful, strutting, haughty party momentum captured live at Cocoricò; a legendary club housed in a glass pyramid outside Rimini, Italy, with Matteo Sorbellini on the mic. “Never Sleep charity tape series breaks towards Riviera Romagnola with an early 90s live recording from the most revered. Insula Romana activist DJ Ralf segues generational bliss with a masterclass of Balearic, Hi-NRG, Ballroom and Disco. A literal lesson in how to command a DJ set and hosted by Matteo Sorbellini. Omitting a sumptuous as Culatello di Zibello technique, hypnotic, deeply human and showboating the longest of blends. Utilising all vinyl rotary magicianship, pulsating drums and flawlessly complex acapella fades . Ralf tears the dancefloor up with shapeshifting vocal arrangements, quantified maximalist piano harmonies and late night / early morning "pick me up" textural rapture. Recorded at the world famous Cocoricò club in the heyday of 1994 this audio document showcases the hedonistic sounds of the era. DJ Ralf is known for his community work, political activism and DJ work across the globe."

Yokota's most upbeat and playful release on the Skintone label.

Will heralded a disarming, groove-based return to deep house. A wild melange of bumping beats, freestyle samples and esoteric goodness. Recorded over the same period as Grinning Cat this anomaly within the Skintone catalogue was seen as a way to circumvent the swirling politics of his club-oriented releases elsewhere.

In itself Will was a reminder of Yokota’s ability to deliver a complex array of sounds within a more recognisable format.

The elusive Shin Watanabe, gives us an insane 13 track double lp of absolute deep house mastery. When talking about deep house here, we mean along the lines of greats like Master C+J, Quest, Burrell, or Blue Jean to name a few. Late night mid-tempo dark house sleaze for the corners of the club. Total old school deep cuts in the truest of traditions. Not to be missed. Housed in a disco sleeve.

Will Long returns to Comatonse Recordings with Acid Trax, a double album of minimal trax conjuring the best of the early days of Chicago acid house. While there has been a resurgence in acid house from the UK and Europe over the past few years, it is almost always of the hyped up and overproduced techno-rave style. Long responds by turning the tempo down to classic house vibes, and bringing things back to basics with a simple setup of rhythm composer percussion and 303 bassline. Drawing upon his decades of minimalist ambient production as Celer, and his sparse take on house music that debuted here on Comatonse in 2016 with Long Trax (look out for Long Trax 4 coming soon on Will's own label), the result is over two hours of queerly evolving trax that remind us of what the acid genre really had to offer. DJ Sprinkles also drops in as a guest collaborator with percussion edits on "Acid Trax S," and takes things further into deepness with remixes of "Acid Trax N" and "Acid Trax B."

視聴-Acid Trax N (All Alkalis are Bases but All Bases are not Alkalis) remix by DJ Sprinkles
視聴-Acid Trax B (Acid Dog) remix by DJ Sprinkles
視聴-Acid Trax A
視聴-Acid Trax H
視聴-Acid Trax S (w/DJ Sprinkles) 

The Dubplate series comes to the label’s spiritual home of Hackney, the stomping ground of the Douglas “Dougie” Waldrop and his Conscious Sounds label with the spin off Dub meets Funk project, the music of the Dub Specialists are presented with extended re-edits by label owners Piers Harrison and Stuart “Chuggy” Leath, alongside rising DJ star Millie McKee and studio boffin Matt Bruce (Vanity Project). Formed in 1989, the Conscious Sounds label and Conscious Music studio have been mainstays on the UK Digital Roots scene to this day, working with the likes Bush Chemists, Johan Dan, Kenny Knots and Pablo Gad. The Dub Specialists was a project created by Dougie to put aside studio sessions and explore a new interest in samplers, working with friend Chris Petter (Love Grocer) and his interest in Jazz and Funk. Using the Atari 1040 running Cubase, with a Soundcraft mixer, drum loops and Reggae basslines were played over Funk samples and layered with Petter’s chords to create a series of short tracks for DJ play. Releasing 3 albums between 1995 and 1999 on the sub label Crispy Music, they have more recently been gaining cult status. The tracks chosen all come from the first and increasingly sought after LP, Dub To Dub Break To Break and have been extended, stretched, looped and dubbed by the label family to form a club friendly EP. From the dance floor jams of Dub De Funk and Funkin’ Dub to the deeper Movin Ya and Murderous Style this is a unique fusion of Funk and Digidub that fits perfectly the ideals of the Dubplate Series.

Open Space is proud to present our first ever full-length LP by LA’s newest chillout band, Puli. Some words from our dear friend Matt McDermott below: In recent years, a cadre of musicians from the east side of Los Angeles have reestablished the city of angels as the first city of Balearica. Alex Ho’s “Move Through It” followed in the lumbering footsteps of Project Sandro’s “Blazer.” Now, there’s a new landmark for the floating west coast sound. Swirling, the first album from LA supergroup Puli. If you’ve got your ear to the ground you know the names involved here. Drummer and producer Damon Palermo’s pedigree stretches back a good 15 years or so, starting off with dub punks Mi Ami. Phil Cho is one of the busiest DJs, musicians and advocates for the deep stuff in LA, throwing legendary hillside parties under the Third Place banner. John Jones, the preternaturally talented guitarist and electronic tinkerer, records as AV Moves, is a key member of the Suzanne Kraft and Baba Stiltz live configurations and plays in The Trilogy Tapes-affiliated act Geo Rip. But this listing of personnel and credentials puts too fine a point on it. Puli are three close friends who go to parties, DJ and get tacos together, repairing to their Chinatown studio a few times a week and coming out with remarkably textured, idiosyncratic downtempo jams. Building off the solid foundation of their 7-inch of heavyweight dubs for Melbourne’s Constant Delay, Swirling is an exploration of new horizons in chill out. “Ramona” acts a statement of purpose—with halftime/double-time dub-tinged rhythms, hazy yet bright synth motifs and atmospheric guitar from Jones, not terribly far from the expansive approach of Japanese dub aesthetes Pecker. “Cloudy,” meanwhile, is a sort of deconstructed and bittersweet Balearic pop featuring Cho’s ethereal vocals. “Bongo Springs” is steppers’ house not far from close LA peer Benedek or the Mood Hut crew up north. But what truly sets this record apart is the space and layers in the production—while it’s nominally an electronic record, Puli is a band that has slowly crafted these songs in the rehearsal space. “Havana Jam” cruises along a sliding roundwound bass guitar take with dubby chords and textural guitars. Palermo’s hand drums and live percussion enmesh perfectly with icy pads on “Leech Seed Dub.” Cho is back on the mic for the gorgeous closer, “C.S.B.”, underpinned by breakbeat and trunk-rattling sub bass. Puli doesn’t sound like anyone else, and is ultimately reflective of the city itself. Listening to Swirling feels like navigating a warren of side streets in the eternal sunshine. Take the drive and dive.

Outside of the international house underground, where his early ‘90s works for the Far East Recording label he co-founded with Shinichiro Yokota are rightly celebrated as bona-fide classics, Soichi Terada is best-known for his work composing music for video games. Yet until now, few of his productions for video games have been released outside of Japan, especially on vinyl. Apes In The Net, a six-track EP featuring music composed for the popular PlayStation 1 series Ape Escape, sets the record straight. It not only showcases Terada’s quality as a composer and producer, but also his versatility. Like much of Terada’s work on the Ape Escape series, the tracks featured don’t explore deep, New York and New Jersey influenced house sounds, but rather his lesser-celebrated love of jungle and drum & bass – a sound he fully explored on 1996 album Sumo Jungle. “The producer of the Ape Escape games heard that and got in touch,” Soichi remembers. “They asked me to make the soundtrack, and then work on the music for the sequels after that. I used to love making music with AKAI hardware samplers, synthesisers, and computers, so I played and recorded the tracks using almost the same methods as I did when I made house music. Using breakbeats and audio samples with a sampler was the most useful way to make the soundtracks.” The six tracks on show, which were originally recorded in the ‘90s but reconstructed and remastered for Japan-only CD and digital releases over a decade ago, mix elements of Terada’s familiar deep house style – think warming chords and pads, memorable melodies, and emotive musical motifs – with blistering D&B breakbeats, 16-bit synth sounds, electronic bleeps and undeniably weighty basslines. They’ve stood the test of time and arguably sound just as fresh now as they did at the turn of the millennium.

Part of only a small and very much underground music scene in his hometown of Venice, Gigi Masin self released two modestly pressed LP's 'Wind' (1986) and 'Wind Collector' (1991) and appeared along side Charles Hayward for the Sub Rosa compilation LP "Les Nouvelles Musiques De Chambre Volume 2" (1988).

Having met with little commercial success in Italy at the time, Gigi Masin's solo albums remained for the most part totally unknown. His music has though in recent years, and seemingly by pure word of mouth, developed almost something of a cult following.

Gigi Masin's uniquely intricate and at times deeply emotive compositions take the listener into a realm of contemplation, a spellbound mind state where time and space appear to dissolve. His sparse and hypnotic often loop-based compositions seem to draw parallels with Detroit Techno's earliest beginnings, all at once conjuring those same feelings of both melancholic longing and ecstatic joy.

With access to Masin's large body of work, far greater than that of the handful of released recordings, Music From Memory's new compilation covers a period of over 30 years, from the mid 1980's up until recent works . Including seventeen compositions, most of which have remained unreleased or unavailable until now, 'Talk To The Sea' aims to shine a light on Gigi Masin's unique and heartfelt talent. This is electronic music from the soul."

Premier, remastered reissue of a legendary mid ‘90s kwaito classic, mirroring US hip house at a suppressed tempo and setting the cool pace and vibe for South African styles such as gqom and amapiano to follow. Doctor House is a key pioneer of the balmy kwaito sound, who established himself as a session player for Volcano, Senyaka and Obed Ngobeni in the ‘80s, before shifting to programming for La Viva and Jivaro, and coining his own sound, melding slow rap and treacly beats on a string of ‘Mix To Groove’ albums in the mid ‘90s. This first volume has since become a sought-after gem, packing 8 proper slow burners between the quaalude sway of ’Nkwesheng’ and relatively uptempo house banger ’Show Me Love’ riffing on a classic. Fair to say it’s all killer no filler for discerning kwaito fiends, with wicked FX and female vox on the cruise-mode gangster house of ‘Gunman’, fruitiest Korg M1 riffs in ’Sososo,’ and another slow-mo standout in the groggy ‘Nandos’, whose charmingly naïf vocal harmonies really hit the spot, as they also do on the hip-house nursery rhyme cadence of ‘Tlo Kwano’ Surefire ‘floor winners start to finish.

Two years after he first appeared on Balmat with 1977, Mike Paradinas returns with 1979. The sense of continuity between the two records is clear, and not just from their titles. Both capture the Planet Mu head venturing into the wilderness, seeking something—half-formed memories, thoughts caught in midair—in some of the most abstract, searching music he has released. Just like 1977, 1979 surveys a synth-heavy array of ethereal soundscapes, ominous crevasses, and strange, psychedelic fugues. Like its predecessor, the new album’s atmospheric cast sets it apart from much of the work Paradinas has released as µ-Ziq on Planet Mu. It’s not strictly an ambient record, but it’s close, as close as this famously mutable artist ever comes to inhabiting a particular genre. Paradinas’ inspiration for the record began on visits to the Spanish cities of Ávila and Majadahona, where his family hails from. That might account for the sense that there are spirits flitting through this music, presences you can intuit if not quite grasp. But 1979 is also a record to meet on your own terms, and to find your own meanings in. It’s a stunning record, every track a world unto itself: the mysterious contours of “Majadahonda at Dawn”; the playful melodic fillips of “Clari”; the airy melancholy of “Galletas”; the full-scale breakbeat abandon (yes, you read that right) of “Houzz 14,” the rarest of dancefloor detours for Balmat. There are echoes of classic braindance and isolationist ambient and golden-age IDM; there are easter eggs and recurring themes and hidden symmetries. Every time we listen, we discover something new. Despite what the title might suggest, it’s less a trip back in time than a portal to another universe, a destination for(to?) which only Mike Paradinas knows the exact coordinates. –Philip Sherburne, Balmat

Re-issue of seminal Mr. Fingers album 'Amnesia', available officially for the first time in over 30 years on Larry Heard's own Alleviated Records. This remastered collection of early Mr. Fingers works is an absolute must have.

Under one of his most notable guises, Larry Heard presents a new album for 2018; his first full length album as Mr. Fingers in almost 25 years ! Famous as one of the most important heads in the dance music around the world, Larry has enjoyed a successful career as a producer, remixer, collaborator, vocalist and DJ spanning 35 years. Due for release on his own imprint Alleviated Records, 'Cerebral Hemispheres' features 14 new pieces of music that allows the listener to fully immerse themselves and dig deep into Larry's musical world.

Re-issue of essential Larry Heard album from the early 2000's... Love's Arrival!

Utter presents Marshall Jefferson's previously unreleased meditation opus 'Yellow Meditation For The Dance Generation' alongside two remixes from French production maestro Joakim.

Marshall Jefferson: Chicago House music pioneer, creator of the anthemic ‘Move Your Body’, an original collaborator of Adonis, Ce Ce Rogers and Roy Davis Jr., production mastermind of countless dancefloor classics such as Phuture’s ‘Acid Tracks’, Sterling Void’s ’It’s All Right’, Hercules’ ‘7 Ways’… and the soothing voice behind a 36 minute healing meditation guide. Yes, really.

But let’s rewind, slightly.

In 2017, Marshall was approached and encouraged by Ian ‘Snowy’ Snowball to write his autobiography and the pair set about putting Marshall’s account of the history of House music together. The book, ‘Marshall Jefferson: Diary of a DJ’ was published in 2019.

Following the book’s release, Ian and Marshall's collaboration continued and during the pandemic an outlandish idea arose to create a piece of music combining Ian's interest in meditation (he runs Club Chi specialising in Shibashi Qigong - a form of Tai Chi Qigong - which is a gentle form of movement therapy/exercise) and Marshall's willingness to experiment musically to see what might be possible.

The result is ‘Yellow Meditation For The Dance Generation’, where Marshall vocalises Ian’s lyrics in his instantly recognisable voice. The keen-eared out there may also recognise aspects of the music itself as a stripped back, lengthened and far mellower version of Marshall’s 1985 obscurity ‘Vibe’:

“I would take tapes to the Music Box and Ron Hardy would play my music. ‘Vibe’ was one of those tracks. I recorded ‘Vibe’ in 1985, but it became one of my tracks that I just forgot about until some guy on Facebook sent me a recording of it that was taken from a club. The only person who I ever gave a recording of ‘Vibe’ to was Ron Hardy. The other people I know who had copies of the track were Gene Hunt and Emanuel Pippin (DJ Spookie).

"The original version of ‘Vibe’ was made using a Roland 707, Roland JX-8P keyboard and a Roland 727 drum machine. I was still working at the Post Office at the time, and this was pre-‘Move Your Body (The House Music Anthem)’. ‘Vibe’ has the building blocks for ‘Move Your Body’ because it was using the instruments on the track that I discovered what I could do with the bass sound, to make a track like ‘Move Your Body’.”

Still, Ian’s initial intention for ‘Yellow Meditation’ was function and it was designed to be a ‘Sequential Relaxation Exercise’ focusing on the Solar Plexus. Bearing this in mind, Marshall took a bare-bones and hypnotic approach to this particular re-recording of ‘Vibe’ so that the voice takes centre stage and listeners (hopefully) find themselves on a meditative journey. In fact, this long-form track was always intended as a private tool purely for meditation at Club Chi rather than released to the public - after all, Marshall had also created and released a more drum heavy, ’traditional’ club-focused 'Vibe Three' instrumental version for that very purpose - but a chance airing of the full 36 minute version changed its path.

Much like those 1985 ‘Vibe’ cassettes, Marshall had sent the track to a few close contacts, one of whom was Kieran at Phonica Records who aired it over the shop’s basement soundsystem. Its unorthodox nature caught the ear of colleague Alex (of Utter ) and the seeds of a physical release were planted.

Eventually, with the full-version carefully whittled down to a vinyl friendly length of 24 minutes, full track parts in hand and a b-side to fill, Alex sought out one of his favourite producers to take up the remix reigns: Joakim. The Tigersushi co-founder and Crowdspacer boss has a long history of boundary-pushing remixes that straddle both dancefloor functionality and experimentation. This time the original material resulted in Joakim coming up with a number of ideas and he finally delivered two versions - one club focused (‘Vertical’), the other more introspective and meditative (‘Horizontal’), both of which appear on the final 12”.

The limited edition 12” also includes a download code giving buyers access to all of the vinyl tracks plus an 18 minute extended version of Joakim’s ‘Horizontal’ remix, its instrumental counterpart (for those who can live without Marshall's voice) and full 12 minute acapella (for those who can't!)