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12"
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LIR 012EP
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$20.50
PREORDER
RELEASE DATE: 5/15/2026
Water Sign is the debut EP from producer and instrumentalist John Silas: a five-track suite that moves fluidly between peak-time dance and inward reflection. Deeply aligned with the open-eared ethos of NYC's Love Injection Records, the release channels house and jazz into an emotive personal chronicle shaped by movement, memory, and community. Water Sign reflects Silas's trajectory -- from a childhood steeped in Soul Train, coming of age with hip hop, to MPC craftsmanship, his Detroit musical family and present-day Brooklyn -- into a deeply personal record equally suited to discerning DJs and deep listeners. Featuring Patrice Scott, Marquinn Mason, and Domenica Fossati.
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12"
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LIR 011EP
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"A place between deep listening and a dance" is how Gene Tellem describes the music she releases via her Montreal-based independent label, Bienvenue Recordings. However her words apply just as well to her own sound as an artist, producer and remixer. Though inspired by early deep house and its musical antecedents, Gene's work possesses an emotional resonance that transcends influence. It's a quality that's characterized her output since debuting her productions in 2017 -- whether working solo or within her four-piece group Secret Witness, with vocalists or instrumentally, or via Bienvenue or other labels within the indie community. And it's in abundance on the five-track Phantom Vibrations EP -- her latest contribution to the imprint with which she shares an appreciation for the sounds and spaces that blur active listening and movement, NYC's Love Injection Records. Its centerpiece is "Phantom Vibrations" -- a paean to the allure of the elusive and ethereal that features the soulfully understated vocals of singer and co-writer Teddy Bryant across four distinct mixes. Gene's "Main Mix" emphasizes the song's emotive duality. It opens pensively -- Teddy's doubled voice pledging devotion to an unrequited "phantom love" over stuttering bass and percussion. But halfway through, his repeated refrain becomes less a plea than an invitation. Bass and drums synchronize, the track motors up, and the lyrics' melancholia is absorbed into the momentum of the dance. The "Radio Mix" and largely instrumental "Alt Mix" capture these intertwined emotional ghost notes as stand-alone statements. Two remarkable additional remixes come courtesy of Sapporo, Japan's Kuniyuki Takahashi. Long venerated as an artist, producer and sound designer (over a storied career that's included collaborations with Theo Parrish, Joe Claussell, Henrik Schwartz, DJ Sprinkles and 4 Hero's Dego amongst others), Kuniyuki's "Kuniyuki Remix" dubs out Bryant's vocals within a beautiful arrangement of darting synth work. His dreamlike "Beatless Remix" strips back the track to its melodic bones, and in the tradition pioneered by Francois K's early '80s Prelude dubs, bathes Bryant's vocals in ecstatic echo.
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7"
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LIR 009EP
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A command across genres has distinguished Yasushi Ide's work as a DJ and producer since emerging from the multiscene spawning big bang that was Tokyo's highly influential club milieu of the 1980s. His productions draw variously from hip-hop, dub, house, punk, jazz dance, exotica and electronic music -- and at their most expressive, synthesize sensibilities within a single track. The respect Ide's earned is well evident in the impressive roll call of collaborators he's accrued over the years -- Masters At Work, Tom Verlaine, Don Letts, James Chance, DJ Krush, Pharaoh Sanders, U-ROY, and Bongo Herman, just to name a legendary few. Now available for worldwide distribution from Love Injection Records in both digital and 7" 45 vinyl formats, the Yasushi Ide "A Place In the Sun (Kaoru Inoue Remix)" is paired with the equally gorgeous "A Place In the Sun (Dub)." On the former, Inoue's treatment largely strips away the track's beats, anchoring it to a subtle percussion pulse that emphasizes the composition's irresistible melodic qualities. The latter finds Yoko Ota at the controls restoring and pushing reverb-soaked drums to the forefront of the mix, accentuating Ide's affection for the sound system aesthetic while exercising just the right amount of spatial arrangement flourishes to inject some brawn amidst the beauty. These serendipitously rediscovered renditions of a back catalog deep cut are just the latest examples of Yasushi Ide's artistic reach. In addition to recording such acclaimed albums as 2020's Cosmic Suite and its 2022 sequel (for which Love Injection has remixed a track), his work has spanned music supervision of some 200+ compilations for major labels, artist management, his Grand Gallery shop/gallery proprietorship, and books showcasing the depth of his archival sensibilities, including vintage t-shirt and ephemera curation. Perhaps most inspiring, however, is that Ide is still winning new appreciators and collaborators in unexpected ways four decades into a revered career that continues to evolve and expand.
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LP
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LIR 005LP
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Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in After The Storm. Barbie Bertisch also focuses on rhythm, bass guitar being her main instrument, and is no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person. "Is This What You Wanted?" is fiery, a pointed provocation to domineering figures from her past. It's full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. "28," the record's opening track, is more peaceful. It's all languid keyboard arpeggios with the occasional flourish of a cascading synth effect. Coke bottle clear vinyl. "I love the sounds, very much. The layers and depths. The melting phases and soaring distances." --Anna Domino
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