Leya Touch & soFa elsewhere aka Dream Baby Dream combine their left-of-centre musical perspectives on an otherworldly new self-titled album that arrives on Hell Yeah this September and will get a Japanese domestic release on CD. The duo's beguiling mix of occult synths and treated vocals ride dubbed-out mid-tempo rhythms on a retro-futurist record that blends cold wave, cosmic disco, dub and trance.

Dream Baby Dream describes themselves as "two children who refused to grow up" and now they offer a glimpse into their very own fantastic land of dreams. This journey into diverse flavours spontaneously started after a cosy dinner and after just three sessions resulted in the album presented here. Playful yet sometimes gloomy, this music echoes life, both imaginary and real - the highs, the lows, the dark moments and the joy, trance-inducted love zones, daydreams and everything in between. It is a coherent hole but one filled with surprising turns, moments of deja vu and plenty of outsider dance floor delights.

Leya Touch is a rising voice and live act on the Brussels alternative scene. Together with soFa, a veteran DJ and producer who released on many forward-thinking labels worldwide, they provide signature vocals and synths that challenge typical genre categorisations.

Opener 'Love Zone' sets a strangely seductive basic channel vs dreamy pop vibe with wispy cosmic melodies and oodles of echoes as Touch's vocals draw you in. Lose limbed percussive jumbled and sci-fi motifs define 'Badalamenti On Fries', 'Curry Con Sax' has an avant-guard sense of soul and melodic curiousness and 'Diskoteka' is a jittery mix of retro synth sounds and whispered vocal coos that shimmer like stars in the night sky. Elsewhere there's the malfunctioning Kraftwerkian electronics of 'Körperkonsum', goa-filter madness of 'Banana Trance' and the eerie interplanetary dub of 'Carpenter On The Beach' while 'Whale Rider' and 'The Rude Red Lady' bring warped lines and enchanting vocalisations that sound like nothing you have heard before.

This is an exultant album of new musical rituals, tiny soundscapes, dehumanised words and combinations of the past, present and future that never fail to excite and intrigue.

Dream Baby Dream

Diskoteka

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Dream Baby Dream - Diskoteka

Mother ft. Chiqo Casidi

DC Promo Tracks #1734: "Sanza Mibale Ya Bo Pemi (Bosq Boogie Bounce Dub)" by Flash Atkins All Stars is part of the release "All Stars EP 1: Sanza Mibale Ya Bo Pemi" on Paper Recordings @paperecordings  

Buy Now: https://flashatkins.bandcamp.com/album/all-stars-ep-1-sanza-mibale-ya-bo-pemi 

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⭐ More Dream Chimney: https://www.dreamchimney.com ⭐


DC Promo Tracks: Flash Atkins All Stars "Sanza Mibale Ya Bo Pemi" (Bosq Boogie Bounce Dub)

DC Promo Tracks #1739: "Siempre" by Linda Mirada is part of the release "Que Largo Es El Verano" on Lovemonk  

Buy Now: https://www.juno.co.uk/products/linda-mirada-que-largo-es-el-verano-vinyl/1108076-01/?ref=dc

DC Interview with Linda Mirada
https://www.dreamchimney.com/interviews/linda-mirada/

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DC Promo Tracks: Linda Mirada "Siempre"

About Epicentre
Epicentre was an R&B/funk group formed in Seattle, Washington by keyboardist Ric Ulsky. The band developed a loyal following, playing the extensive NW club, concert and dance venues throughout the mid-to-late 1970s. Their sound was a blend of melodic R&B and powerhouse funk that dependably filled music venues throughout the Western US. Bernadette Bascom was the lead vocalist, who captivated audiences with her powerful yet velvet-smooth voice and commanding, magnetic stage presence.
 In 1978,  Epicentre worked with Seattle producer Don McKinney to record their music in Seattle's now legendary Kaye-Smith studios. The result was seven strong, fully -produced R&B songs, with occasional horn and string orchestrations tastefully added to the final versions.  
Their music quite literally sat on a shelf for decades until McKinney decided that all the hard work and talent should no longer remain undiscovered and it needed to find its audience. He restored and digitized his copies of the master tapes and looked for an opportunity. A chance call to the former leader of the group, Kell Houston, led to a serendipitous introduction to UK boutique/funk/R&B label founder Russell Paine. The result was an agreement to release their music, starting with two songs, "When You Were In Love With Me", and "Magic Carpet." 
Footnotes: Lead singer Bernadette Bascom became a protegé of Stevie Wonder, and was the first artist to be signed to his label Black Bull , starting a period of collaboration between the two. Bermadette is the daughter of Reverend Dr. Marion C. Bascom (1925-2012), one of Baltimore's major civil rights voices and pastor emeritus of Baltimore's Douglas Memorial Community Church. Ric Ulsky eventually left the group to play keyboards and tour extensively with The Association. You can also find Epicentre's music on the compilation album "Seattle Funk, Modern Soul & Boogie: Volume II 1972-1987." In addition to Bernadette, the musicians on the 1978 sessions are Kell Houston, keyboards,  Michael Cox, bass, John Carmondy, guitar, and Ricky Lynn Johnson, drums and vocals. While their recorded material is primarily original, Stacy Christensen from Seattle's Gabriel contributed two of his compositions.
Label credits:
Epicentre featuring Bernadette Bascom
Recorded at Kaye-Smith Studios, Seattle, Washington, August 1978
"When You Were in Love With Me" and "Magic Carpet" written by Bernadette Bascom
Produced for Epicentre by Don McKinney


Epicentre Feat Bernadette Bascomb "Magic Carpet" unissued Modern Soul 45

LENG SHOP - https://lengrecords.bandcamp.com/album/fifteen-years-of-leng-records

When Leng Records founders Paul ‘Mudd’ Murphy and Simon Purnell marked the imprint’s 10th birthday, they did so via a celebratory compilation that mixed classic catalogue cuts, remixes and exclusives. Five years on, and with the label’s 15th birthday upon us, they’ve decided to look to the future via a compilation made up entirely of fresh productions from Leng’s roster of current and new artists.

Presented on limited-edition gatefold double vinyl with a bonus 10” single, the collection offers an updated showcase of Leng’s much-loved trademark sound, a distinctive fusion of mid-tempo sleazy-disco, Balearica and chugging house interspersed with elements of electronic psychedelia and synth-powered space disco.

Fittingly for a compilation that wholeheartedly looks to the future, you’ll find first contributions from a handful of label newcomers. Fast-rising duo Flying Mojito Bros give their spin on ‘Smoke Signals’ by label debutants Joe Harvey-Whyte and Bobby Lee, turning in a heady and inspired revision that sits somewhere between dusk-ready cosmic disco and flash-fried desert blues. There’s also an appearance from Swedish producer Bo Wosticz with the dreamy and ultra-deep nu-jazz of ‘Bs As’.

Naturally, you’ll also find plenty of heat from those who have already proved their mettle through prior releases on Leng. Danish duo Liminal, who made their debut earlier this year with the much-played ‘Keep Coming Back To Me’, open proceedings with the tactile, slow-disco flex of ‘Tzatziki Bay’ where sweet synth melodies and a heady electric piano riff ride a warming groove.

Roberto Intrallazzi and Dario Piana from Italy’s original Afro-cosmic movement return with ‘Plutos’, a typically deep dubbed-out cosmic chugger. Then there’s Rose Robinson AKA Tigerbalm, whose ‘Mexicana’ featuring singer Joi N’Juno is presented across the package in two different forms. Pete Herbert, who contributed to some of the earliest Leng releases, drops a driving dub disco take on the main compilation, while Robinson’s original mix – a more organic, percussive and horn-heavy affair blessed with plenty of hallucinatory intent – opens the bonus 10”.

There’s a welcome return to Leng for the brilliant Payfone, whose ‘Dime Algo’ is a typically classy, analogue-rich affair in which attractive Rhodes riffs, atmospheric female vocals and pitched-down house pianos rise above shuffling drum machine beats and a slow-motion bassline. Long-serving label contributor Lex (Athens) delivers the loose-limbed nu-disco breeze of ‘Stolen Dance’, while the imprint’s San Francisco connection ¬– the ever-brilliant 40 Thieves collective – drop the dubbed-out Bay Area brilliance of ‘Such A Great Trip’.

Then there are the contributions of the label’s most storied artist, Andrew Meecham AKA Emperor Machine with ‘Eumig’, a deliciously slow, synth-rich chugger full of colourful chords, bubbly electronic melodies and jaunty electronic bass. Then, to round off the bonus 10” single, Meecham joins forces with Paul Murphy (as Mudd) on ‘Road To Nikko’, an extended, Japanese musical culture-influenced slab of pitched-down alien-funk packed to the rafters with squelchy synth sounds, effects-laden percussion, chiming melodies and rubbery bass guitar.

LENG SHOP

Bo Wosticz - Bs As

Paul Murphy’s Claremont 56 label welcomes a genuine legend of UK music to its roster – Chaz Jankel, the man whose dizzying musicality and love of soul, funk and disco did much to shape the sound of Ian Dury’s Blockheads band in the late 1970s and early ‘80s.

A virtuoso keyboardist with a deep love of Black American music, Jankel’s arrangements and compositional skills were key to the success of their records, the funkiest of which not only became crossover pop hits – see ‘Hit Me With Your Rhythm Stick’ and ‘Reasons To be Cheerful, Part 3’ in particular – but also saw heavy rotation in now iconic New York clubs including the Paradise Garage and Studio 54. 

This continued during the formative years of his solo career, with ‘My Occupation’, ‘Questionnaire’ and ‘Glad To Know You’ (later famously re-edited and dubbed out for nu-disco dancefloors by Todd Terje) all becoming club hits. The great Quincy Jones also covered Jankel’s infectious single ‘Ai No Carrida’, while experimental, club-ready synth-jam ‘3,000,000 Synths’ was also influential during the early years of the electro movement.

For his Claremont 56 bow, Jankel has delivered an all-new workout recorded earlier this year, the simply titled ‘Rhumba Jam’. A typically warm, groovy and rolling affair, it features Jankel delivering infectious, stretched-out Rhodes electric piano solos over toasty bass, clipped guitar licks, warm bass, accordion-style synth motifs and a densely layered Rhumba rhythm. While relaxed and sun-soaked, it also has bags of Balearic dancefloor potential.

Murphy remixes under his now familiar Mudd alias, leaning into the track’s languid Balearic vibe while keeping a firm focus on the dancefloor. Beginning with an enticing mix of metronomic drums and jangly acoustic guitars, Murphy slowly layers up key elements of Jankel’s original – think rubbery bass, rhythmic handclaps, mazy synth sounds and those wonderful, stretched-out solos. It’s a version that pays due reverence to the quality of Jankel’s musicianship, production and arrangement while subtly extending it and reframing it for 21st century Balearic dancefloors.


Chaz Jankel - Rhumba Jam (Mudd Remix) (Clip)

Citizens of Vice proudly return with release number 60 — a record that’s been in the works for quite some time. This latest EP comes from Bali-based DJ/live outfit Gold Suite, marking a fresh shift in their sound and style. We’ll let Gold Suite tell you more about it below.

These two tunes were written back in January, when after a busy December of night-time DJ gigs, we were really needing to sink our teeth into something other than house and disco in the January downtime.

I started to get interested in '70s library music, loving the idea that these tunes were thrust into existence in a matter of hours, to then take on a new, long life as a fundamental part of something bigger. I had in my mind the idea of composing incidental music for a resort that was lost in time.

Laura was learning to play the bass guitar at the time so we got to it.

'Analog Swell' was recorded very quickly, originally with a drum machine that was later replaced with a mono drum kit. 'Coast Along' came later, and was the first Gold Suite recording with vocals. This felt like a real turning point, as these simple compositions could suddenly become so much more evocative.

Simple, no frills, and mixable if you really want to. We hope you enjoy them.

Joey & Laura (Gold Suite)

The EP will be released on Citizens Of Vice on Nov 7th and is completed with remixes from Idjut Boys Dan Tyler and Sheffield's finest ‘Yarni’.

https://soundcloud.com/citizensofvice
https://soundcloud.com/idjut-dan
https://www.instagram.com/goldsuitemusic

PREMIERE: Gold Suite - Coast Along (Dan Idjut's Bassinvader Mix) [Citizens Of Vice]

Session Victim - Rain Or Shine [Delusions Of Grandeur]

Cisco Cisco - Why Can't I Be You? (Ron Basejam Remix)

Balearic Shaketown EP
Label - The Magic Movement
Released - 14th November 2025
BUY FROM - https://themagicmovement.bandcamp.com/album/st03-balearic-shaketown

The Shaketown series is back with another sunshine-fueled chapter - this time celebrating the blissful, sun-drenched sounds of the Balearic Islands. Following the highly acclaimed African Shaketown and Caribbean Shaketown EPs, the third installment, Balearic Shaketown, delivers four irresistible edits and remixes of classic ‘80s pop gems - lovingly
reimagined by MAGIC JAMS for today’s dancefloors.

Support ➟➟
https://www.instagram.com/doyouspeakmagic/
https://www.instagram.com/shaketown_mixes/
https://soundcloud.com/noema
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PREMIERE: K.B. - Cloudbusting (Magic Jams Remix)

"If you didn't know, Hell Yeah is the Italian label hell-bent on releasing the best modern disco(ish) you can find. Sometimes it's blissed out and Balearic, sometimes it's squelchy and down-right weird and sometimes it's the sort of elongated, tribal stuff that works dancefloors into a salacious frenzy" (Kristan J Caryl - DJ MAG January 2014)


Hell Yeah Recordings, a descendent of leading Italian dance label Mantra Vibes is an Italian-based electronic music label active since 2006. Releasing from Ferrara, Bologna, and Amsterdam and led by Marco Gallerani “peeDoo” (A&R), the label bases its philosophy on a diversity of artists and recording experiences tied together by a common vision of what defines quality progressive recording. 

With a sound as diverse as the artists it represents, Hell Yeah does not limit itself to the constraints of genre but packs a complex palette of sounds ranging from techno to minimal-nu-rave to electro-funk and tech house.  Artists as varied as Radio Slave, Santos, Umek, Oliver Koletzki, Congorock, 3iO, Crimea X and the mighty Balearic Gabba Sound System have helped establish Hell Yeah’s eclectic sound, a distinct take on party music loaded with a sonic Balearic feel good vibe that has made press around the world hail Hell Yeah as a label to watch, always

Hell Yeah aims to build upon its current reputation as a leading Italian Electronic Music play, overseeing the release of a series of progressive productions that straddle genres, defy conventions and blur barriers between listening and dance music. Stemming from Hell Yeah’s initial graphic identity formed by Neverending’s Rocco “the Boghe” Pezzella, new mind-bending web and label artworks from Italian artist Andrea Amaducci and the Berlin-based Ice Cream For Free collective promises complete visual as well as aural stimulation.

info/bookings: 
marco@pplayground.com

Dream Baby Dream - Diskoteka

Hell Yeah Recordings

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