Cerca:15 years

The 'industry' of dance music can be as soul-crushing as any other. Those thrills and spills of late, loud nights come with a best-before expiry date, after which even the most seasoned selector-producer-scenemaker begins to wrinkle their nose. To have experienced it all over 15+ years and seek to see it unfold again through fresh eyes, what sort of lunatic would willingly put themselves through that V would. So it's a new character, but who was the mysterious V in a past life Make your own conclusions. A little digging will lead you toward the origin story, but sometimes the pleasure comes from the unknowing. Opt to enjoy the Silence. Silence, however, is not the focal point for V. In fact, this new form is a way to discard baggage and revitalise the process of music making. Tremors had become to show up in recent years on record labels in Glasgow and London, flickers of subterranean volcanic activity. Yet what proved to be rising was no big bang, nor even a phoenix from the ashes - but closer perhaps to a Nautilus. A relic by some standards but a pretty point of curiosity to others, slowly bobbing to the surface. Something ever-present and familiar to thousands, yet with mysteries left to be revealed. But hey - what does V stand for anyhow For Vilnius By origin and by where the heart lies, yes, although V for Vedett is also an acceptable answer given the artist's transposed second home of Belgium; so too is V for Volkswagen, given the production work put in around Frankfurt as of late. For Vendetta Too strong, although V does bear a grudge match against hobbyists and dilettantes. If you're going to be a new name in town, you may as well be a new name in town with years of hidden history, right For Vishnu Perhaps this is the one. V's tangle of arms extend forward in many directions: some clutching 303s and LinnDrums; others pushing fingers i

Luiz Mendes Jr or "Junior Mendes" was a ubiquitous figure in the
Brazilian Soul / Funk scene of the 70s and early 80s, contributing to
compositions for bands such as Banda Black Rio , Tim Maia, Sandra de
Sá and many more. This, his only solo album has remained off the map
(unless your a collector of rare Brazilian vinyl). Despite his huge
contribution to Brazilian music the LP has remained unissued until
now, 35 years after its recording.

Alex took his first musical steps by studying piano and guitar at the young age of 6. His fascination for the more outlandish, experimental side of each instrument corrupted his lessons and sent him down a modular synths and tape loop composition wormhole. Years later Alex resurfaced, got himself clean and, through connections made while spending time as a vocal audience member (and sometimes uninvited participant) at Lyman Woodard, Phil Ranelin, and other Tribe- and Motown-linked gigs in Cass Corridor during the mid-1970s, spent time as a session musician for Earth Wind and Fire, Chic, and Prince. It was only toward the mid-90s he found himself enthralled by the techno and house sounds of Detroit and Chicago so he went into the woodshed and came out firing electronic salvos.

Mint Condition - A reissue label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Hot on the heels of his 'Relief Sevensixty' EP we are pleased to announce the latest instalment of Jaime Read cuts from the vaults. The 'Target This MF' EP is another collection of golden-era jams from Read's envious archive. Steeped in history, these infamous tracks are now seeing the light of day again. You only have to have a quick online search to read the fascinating story of the journey of this music and then maybe this EP title will make sense! Kicking off with the serious Detroit leanings of 'P.E.G.' you get a real taste of what's in store, frantic claps and detuned synth swells combine to create a pacey and essential slice of futurist Techno. A2 'Sux' is another epic piece of space electronics, tough drum machine programming and swirling sounds give the track an epic feel, mildly disorientating in the best possible way it's hard to believe this music originates from the South coast of the UK! B1 'Rein (Pt.1)' is mining a deeper, House infused sound. A sublime groove that tips it's hat to the masters with a serious bassline that just won't stop. Funky machine music of the highest order. The EP finishes with the absolute killer 'Peeano', a jam that flips Jazz on it's head in zero gravity, incessant piano lines drive us deep into the speaker stacks and it feels great. The whole EP is a total trip. Essential music from an unheralded UK legend.
The 'Target This MF' EP has been legitimately released with the full involvement of Jaime Read for 2017 and remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at Mint Condition!

Two years after his last outing on Get Physical, Roland Leesker returns to the label of which he is Managing Director with a brilliant new track that comes with a remix from Cardopusher. Leesker has only put out a select few releases over the last 15 years-both solo and as DJ Carrera and R&R with none other than Ricardo Villalobos-but he has a truly fully formed sound. This tune has been doing serious damage in the clubs for a while now and makes you wonder why Leesker doesn't release more! Entitled 'Thunderstorm' it is seven minutes plus of moody and dramatic tech with heavy synth clouds, whining machines and turbulent drums all whipping up a storm. Manic keys and heavy chords come in and out as fizzing textures all make it a real synapse firing affair that is designed to arrest the attention of huge crowds, and it sure will do that. Venezuelan born Cardopusher has a diverse and experimental sound that takes him from techno to electro to acid to rave to house on labels like Super Rhythm Trax, Zone and BNR. Here he masterfully cooks up another frenzied track with spraying acid, heavy, marching and industrial drums and a real sense of rave energy that will dazzle as much as delight in any set. Finally, Leesker offers up his own 'Dschinn mix' providing even more raw energy. Angry drum rolls, stomping kicks and huge hi hats all piled up and force you onto action. It's a superbly metallic, in your face track to wake up a crowd in the late night hours. With this EP, Get Physical's sensational 2017 keeps on getting better.

With The Object Isn't There UK guitar player and producer Jack Allett has made a deeply personal masterpiece based around cyclical guitar parts and electronic percussion. Playing like a half remembered fever dream with an aesthetic that is ragged, hypnotic and spacey, its two side-long pieces touch on minimalism, kraut-infused dub and euphoric dance floor optimism. As comfortable being played after Manuel Göttschings E2-E4 as right before a Terekke lo-fi house anthem, it is laced with the melancholy of an early morning post-rave comedown. Yet for all the references and name-checking, it's a record that is hard to compare to anything else, past or present.



BIOGRAPHY



Jack Allett works as a producer in London and has been active for many years as an experimental guitar player, releasing a solo record on Blackest Rainbow and collaborating with UK avant-guitar player Cam Deas. The Object Isn't There was written, recorded, and mixed in Camberwell and Camden, London, UK. 2012-2016.



INFO



This record is about - insofar as instrumental music need be about anything - hallucinations. The title The Object Isn't There serves as a concise definition, derived from the quote 'An hallucination is a strictly sensational form of consciousness, as good and true a sensation as if there were a real object there. The object happens to be not there, that is all.' (William James, The Principles Of Psychology, 1890)



Having experienced constant tinnitus - a form of auditory hallucination - for the last 13 years, Jack has long questioned the distinction of something experienced as being either there or not-there. Even if, strictly speaking, an hallucination is something that's not there, if the reality of how it affects day-to-day existence is undeniable then to any extent that matters, it is there. But The Object Isn't There is no tale of woe, nor simply a response to this one condition, and tinnitus need not be considered only as distressing or distracting. Allett sees it merely as one example of many things in life that cross this uncertain terrain:



There are obvious parallels here with the notion of active listening. There is room for emotion too, particularly the kind of overwhelming, -all-consuming emotion that, once it fades, is hard to believe was actually how you felt. Essentially the music here is concerned with being overwhelmed by a sensation, never really being sure to what extent you are conjuring it up yourself, to what extent it exists independently of you, but ultimately deciding that it doesn't much matter; the sensation itself was undeniable.

— Jack Allett

A swirling haze with a plenitude of sounds bobbing to it's surface it's a heartfelt

Osaka, not being Japan's capital city, has a history of producing some unique underground movements and artists. Without the attention or the funds Tokyo artists may have access to, Osakan artists over the years have had to make their own way with raw innovation.Iku Sakan, an electronic musician and DJ from Osaka, has spent most of the last decade living in Berlin. Prior to that, he was active in the underground club scene of Kyoto & Osaka. A previous unit was Sakan & Senju (with Muneomi Senju of The Boredoms). Together, they produced a 15 copy handmade edition of their music on CDr. Iku personally handed a copy to Karlheinz Stockhausen, when he was visiting Tokyo for his last festival appearance in Japan.Sakan began playing steel drum at the Görlizer park in Berlin, Tori Kudo of Maher Shalal Hash Baz then invited him to accompany the band. Immersing himself in the international DIY / noise / improv scene back in Berlin, he became active as an improviser, DJ and promoter, and has since worked with Sun Araw, Anders Lauge Meldgaard, Pekka Airaksinen, Günter Schickert, and Damo Suzuki.Playing and improvising, touring and DJing, has led to his sound, a kind of metaphysical music, with circular rhythms and an emotive, melodic feel. He combines analogue and digital devices (Omnichord, Roland MC303, and a DIY electronic doll synth. made by his friend Stephane Shibatsuji-Perrin in Tokyo), and pre-recorded materials, mixing and merging all four signals into one mixer (no MIDI sync.), through an effect pedal. When recording, he usually lets these devices run until something clicks. Then he records and starts to improvise, like he's playing an imaginary instrument, entering a timeless region where track length loses its meaning.2017 has seen some of Sakan's Berlin recordings released, initially on two tapes: 'Human Wave Music', for Natural Sciences, and 'Cepheidian' for Planet Almanac. The two track long player 'Prism in Us All' on Japan Blues' imprint is his first LP. His on/off-world sound, part kalimba, part gamelan, part E2-E4 - and at the same time, none of them. A hypnotic, musical mantra, centring the spirit, and resonating with the harmonics of the spheres.Prism In Us All' is the second release on Japan Blues' eponymous imprint, after featuring the album on his NTS show in January.300 copies only, in silk-screened sleeve.

'Afro Rock Vol. 1' is one of the most important compilations of heavy original '70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker's indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and 'diggers' to rediscover lost music from Africa made during the '60s and '70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the frst to reach a far different audience to the traditional 'world music' market and spawned many further projects and labels in its wake. A year later, the 'Nigeria 70' compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland. The album is testament to the determined work of Brooker following several research trips, especially to East Africa - Kenya and Zaire. It brought to light East Africa's fnest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, 'The Nigerian James Brown' Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam 'Yuda' by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained infuential since its release with tracks appearing on other Afro compilations and on TV and the big screen - Jingo's 'Fever' featured in Kevin McDonald's 2006 hit flm, 'Last King Of Scotland'.Out of print since 2015, the album is being reissued on Strut in its original form with the extra dynamite unreleased psychedelic cut by Kenya's Ishmael Jingo, 'Keep On Holding On' taken from the original master tape. The package features the original sleeve notes by Duncan Brooker along with new additional notes providing further background to the album and tracks.

The first time I heard of Mattes Schwarz, someone called him 'Stecken-Mattes'. Stecken was a defining, if almost secret, Cologne dance music venue of the 2000s and early 2010s, a minuscule basement without curfew and seemingly any other restrictions, where the up to twelve hour long DJ-sets felt like a tightly knit circle of friends just playing records to each other: The selectors from the night before and the one after reliably sitting right in front of the just over one meter long stretch of the bar that formed its booth, never missing out on a chance to see their mates play, heads nodding and hands clapping through the smoke-filled air, until someone started to sing along, and eventually everyone got up for a few hours of moves on the 15 square meter dancefloor, on a grey Wednesday or Saturday morning at 7 or just as well 10 am.
Mattes Schwarz started DJing in 1982 at age twelve, inspired by, as many West-German kids, the GI-DJs of the roller skating rinks around US army bases. While he got heavily involved in Cologne's BMX scene of the 90s, he never really stopped, and during the main years of being known as Stecken-Mattes and playing there each Friday night, he coincidently lived in Magazine record's homebase, North- Eastern Cologne's old harbour.
One day after Stecken's closure had sent restructuring ripples through the city - I imagine him getting up in the morning and taking a deep breath - he decided to send Magazine a few tracks.
'I Don't Know' is Mattes Schwarz' first release.

My Favorite Robot welcome the collaborative outfit of Rodion & Local Suicide for their next EP, which comes boosted by
remixes from Los Mekanikos, Moscoman and Fairmont, as well as artwork that is made up 3D prints of the act.
Rodion is an Italian classical piano player and acclaimed producer whose albums and EPs for the likes of Gomma, Nein
& Nang have helped to reshape modern disco. Also one half of Alien Alien and boss of the Roccodisco label, he is a real
studio visionary who for ten years has mixed up classical, trance and psychedelic sounds. He makes everything from
chamber music to computer game soundtracks, has remixed Giorgio Moroder and counts the likes of Tim Sweeney, Erol
Alkan and DJ Hell as fans. Berlin-based duo/couple Brax Moody and Vamparela aka Local Suicide have been
collaborating together since 2007, either as a DJ duo, in bands, or as remixers and producers. They have played all over
the world and are in favour with the likes of XLR8R, Thump and Mixmag for their fusions of slow techno, post disco and
acid.
These original analog tracks were recorded between 2014 and 2016 in Rodion s vintage studio in Berlin. They came about
when they all met following one of his gigs just after he moved there, and after being in touch online for a while. During
one of the nights, Rodion brought friend, producer and singer Ali Bey (part of the Belgrade DJ collective Beyond House
and a famous record digger) to contribute.
Impressive opener Abu Dhabi includes samples from field recordings from all over the world. The most prominent is the
recording from an airport in Bangkok where Brax Moody and Vamparela were waiting to catch their plane to Saigon
and it ended up being the main vocal hook. The alluring track is a wonky feeling number with gurgling synth lines and
gentle releases of white noise lulling you into the groove. A searching synth line and distant siren add urgency and the
whole thing feels urban and futuristic.
Comprised of Mexico City producers Max Jones and Eddie Mercury, Los Mekanikos combine raw hypno-rhythm tracks
with pumping grooves that pay homage to Chicago, Detroit and Berlin. Their special remix is another late night and
unhinged number that encourages you to freak out amongst the panning and paranoid synth patterns and robotic grooves.
Then comes the brilliant True Love Floats with Ali Beys singing and Vamparela s vocoded vocals. The interplay between
the two is tense and alien and makes for a perfectly inhuman groove with popping bell sounds, undulating pads and spooky
deep space ambiance.
Remixing this one is Berlin via Tel Aviv artist of the moment and Disco Halal label head Moscoman, whose raw machine
grooves have impressed on labels like ESP Institute, Correspondant and I'm a Cliche. His slow and purposeful version is
deep and psychedelic with disorientating vocals and blistered synths wallowing in a menacing urban landscape. Buy it
digitally and you will also get a fine remix from label regular and Canadian Fairmont. He runs the Beachcoma label, has
worked with cult outlet Border Community over the years and mixes up dark disco and goth into his own fresh sounds. His
remix here is more direct and driven, with powerful drums and well sculpted synths making it another great rework.
This is a unique sounding package featuring plenty of heavyweight names and marks another cultured outing from the
always considered My Favourite Robot label.

The 2nd release from I Walked by Night comes firing out of the southside of Glasgow. A young man by the name of The Burrell Connection has been flying under the radar for a few years now... A Perth native / Glasgow immigrant has been making music since he was 15, his first release came via West End Communications (003) in 2015. Since then he has released most recently with Craigie Knowes on the amazing 2nd annual War Child fundraiser along with Legowelt, Shanti Celeste, Neville Watson and many more. 'Southside' was made with a Juno 6, Yamaha Dx21, Roland TR8, Korg MiniLogue and twisting samples and recording most tracks in one take with little post editing. This EP oozes raw energy and shows off a delicate deft touch. After debuting at the Warehouse Project in 2016, The Burrell Connection will be producing his first live show in 2017.

A FISTFUL OF WAX is an extension for some very special projects of our beloved deep house SKYLAX RECORDS' sub - label WAX CLASSIC. A Fistful of Wax is back with its fourth volume! This offshoot originally began as an avenue for showing off some of the overflowing great talent we have floating about the Wax Classic sub-label, but with the growing reception of our previous three releases, it has developed itself into its own uniquely successful imprint. In a time when a lot of the hot records of the moment are made by highly distinguished producers with years of success under their belts, it is easy to forget how much good house music can come out of the underground by relatively fresh names. With AFX4, we are only scratching the surface once again, yet we have 5 special tracks from a group of producers who, if not already, will stay on your radar for the foreseeable future.The A side features tracks from Erman & Abtomat (of Série Limitée Records fame) and Kid Mark (Head honcho of Killax Recordings). We start off deep with the aptly named 'How Deep Can You Go', easily the most soothing of the bunch. 'Fantasy '95' takes it up a notch for those who wish to, with classic 90s chords and accompanying bass and horns. Over on the flip side, we hear 'Won't Get To Heaven' by Californian newcomer, An Expresso. Being a self confessed New Jersey style house addict, this hits in all the right places for those familiar with the sounds of NJ legend George Lockett Jr, aka Jerzzey Boy. Shin continues things with 'Phara', a percussive stormer with one of the hardest hitting leads you will hear for a good while. This one is a sure fire hit! Last, but by no means least is Rosenhaft's 'Voyager'. Fans of early UK Garage, perk up your ears because this could have easily been a tune you would have heard on your favourite pirate radio station back in '97.If you are still on the fence about the record at this point, you are in the wrong place. This record has it all for lovers of the 90s house sound! Whether you are of the deeper persuasion or the more garagey persuasion, the US or the UK side of things, there is something here for almost everyone on A Fistful of Wax 4.

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting their stories, writing the liner notes, creating the cover artwork, mastering the songs, promoting the release, communicating with pressing plants and distributors, and so on. Most of the tasks mean fun with the exception of one thing which nobody here at Tramp is keen on doing: writing the sales notes.

Far be it from us to praise our release to the skies. Naturally, we are pretty much convinced of the sheer quality of each song, otherwise we would not have invested so much time and efforts into completing those compilation albums. One thing which surprises us is that despite thousands of Rare Groove compilations on the market neither of the songs to be found here has been compiled elsewhere yet. A fact that not only fills us with pride but also determines our claim for the future. As for now we have done our homework and it is time to let the music speak so that the Gunn High School Jazz Reunion, Keither Florence, Robert Cote, Plas Johnson, Charlie Chisholm Boss-tet, and all the others get the recognition they so richly deserve for their talent and work.

When Tramp opened its doors in the early 2000s it was just for the fun of it. A business plan did not exist and nobody involved with the label had studied anything music related. It was just a bunch of crazy record collectors and music lovers with a simple idea: to share their favourite music with the world. Nobody could have known that this would last for 15 years - and there is no end in sight.

Until he was about 20, Texas-born Melvin Sparks was a rhythm & blues guitarist, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. But Sparks gave up his seat on The Upsetters' bus in New York City, where a chance introduction to George Benson led him to a place in soul jazz history. Melvin played and recorded with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington Jr., Reuben Wilson and so many more. Even during the quietest years of soul-jazz Melvin stayed relevant through hip-hop and r&b, a quick search at WhoSampled turns up more than 150 samples of his funky chicken scratch. And Melvin's legacy is heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he also guested with several times before his early departure from this realm in 2011.

This release documents Melvin's final band just months before his death. Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years, and, despite the power dynamic - they were in their early 30s, Melvin an elder-statesmen of the genre - the unit was sharp, relaxed and performed Melvin's music with a jovial spirit. The trio played the Burlington, VT club Nectar's regularly, but this night featured two "onlys." Per the recommendation of Nectar's agent they used the "Grippo Horns," the only time Sparks used a horn section in the last several years of his life, and they allowed a multitrack recording of the show. Both were strong decisions.

The tracks on this album, lovingly mixed by guitarist, producer and Melvin Sparks fan Eddie Roberts, demonstrate that Melvin played as well in the final months of his life as at any time. Sparks counts "Whip! Whop!" off at what he said The Upsetters called a "showtime tempo," and peppers it, as well as most of the album, with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He unfolds amiable melodies, patiently and methodically, through his several-minute lead on "Breezin'." And Sparks is audibly uplifted by the Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman" for the first time in decades.

Over 3 years ago, Casey Tucker was thrust into the limelight after 15 years in the shadows. Never truly getting the recognition for is Detroit influenced and post rave sound in the 90s, For Those That Knoe reissued some of Casey's classic material and unearthed some gems on DAT in 2013. Fast forward to the current day and a recent treasure trove was uncovered and some fresh DATs untouched since the late 90s were discovered! Ben promptly bought a DAT player on Ebay and shipped it to Casey's home for the un-dusting to commence. FTTK has worked with Casey to present another round of authentic material spread across a further three EPs.The track Carpet Dancer has been in demand since the Fine Balance Recordings gained deserved attention. Originally featuring as the A Side on the very first fine Balance EP, it evokes all of the emotions that Casey's music can muster.Juxtaposition is a slower groovy effort with meandering chords, trademark fizzy percussion and topped off with a lush string finale.Whatever Comes to Mind rounds off the EP with a rolling percussive bassline, delicate arps and smooth sweeping pads.

'This is a journey into sound...,' These familiar words, accompanied by the rumble of a distant train, signal the opening of 'Let's Take A Trip', the sophomore album from Terrel Wallace aka Tall Black Guy. Since 2013's '8 Miles To Moenart' TBG has cemented his position as a standard bearer for the current hip-hop / beats scene. Born in Detroit and now residing in the UK, Wallace's signature style of incredibly clever sample flips and deft production chops has won fans across the globe including Gilles Peterson, Lefto, Jazzy Jeff and House Shoes.

Since his debut release in 2011 (a daring and addictive flip of Fela Kuti), TBG has become revered for his unique take on soulful hip-hop production. The swing of the drums, the textures of the instrumentation as well as a fearlessness in taking on the classics (his Soundcloud page includes flips and chops of tracks from James Brown, De La Soul and Michael Jackson) have marked him out from the crowd. One of the best-kept secrets in the scene, his singular talent is now beginning to get the recognition it deserves. In the last 12 months he has remixed Little Dragon and been invited to take part in Jazzy Jeff's Playlist Retreat alongside the likes of Eric Lau, James Poyser, Ali Shaheed Muhammed, Questlove and countless others.

For this album Wallace had a simple inspiration: 'This album is all about taking a journey. As simple as that. Be it physical, emotional or spiritual. It's asking and answering personal questions from myself within some of the tracks and also touching on social issues i.e. racism, inequality and privilege...that have been at the forefront of my mind over last three years.' Sonically there is also a shift: 'Jazz has definitely been more of an influence in this project, as I have been really inspired by so many up and coming musicians who I've been blessed to connect with'. Some of these musicians, including Kenny Keys, Miles Bonny, Diggs Duke and Dee Jackson feature on the project as well as regular collaborators Ozay Moore and Mario Sweet and fellow Playlist alumni Daniel Crawford and Masego. But this is one man's vision, and for Tall Black Guy this trip is just the beginning...,.

An object resists changing its state of motion with inertia. What pushes back must then be even more vigorous in order to create a uid movement. An example of the force that embodies this dynamic can be found clearly on the appropriately titled Inertia, Aiken's much anticipated return to Chronicle. The Spanish artist has been spending years honing his craft, focusing on sharp, distinct sounds that create a pure sense of kinetic energy. The title track of
the EP bolsters a erce disarray of carefully (de)constructed atonal synthwork and a rhythm section that is set to detonate. It is then followed by 'Axial', a track that stays as true to modular miscalculations as it does to stripped down techno, combining both in a subliminal cessation of sanity. However Aiken isn't done there. He continues with 'Magnetism', which throws a brick in the glass of conventionality with its earth-shaking layers of textured momentum. Phased pads then wash over 'Soul Drama', bringing the entire experience

to an emotionally laced denouement. After the potency of his last record on Chronicle as well as his releases on imprints such as his own label Timeline and the Spanish powerhouse Semantica, Inertia marks a de nitive step forward for an already exceptionally de ned artist.

Adriano Canzian has by now developed a trademark sound unlike any other, a genre-twisting hybrid of EBM, techno, industrial and acid beats that has acquired nuance and influences throughout the years, aiming at that uniqueness he's always been reaching for. Confessions Of A Dangerous Mind is a breathless, unrelenting march of a record, a whirlwind of classic industrial sounds driven by a hammering pulse and a shimmer of melting matter. David Carretta's remix smoothens out some edges into a mix of techno and new beats, then Canzian charges on again with Sick Goates , skillfully adding noise frequencies to a goth background, before letting Spain s The Plumbers close with their rendition of Sleeplessness , marked by a dub-sprinkled techno no less belligerent than most of Canzian s catalogue.

Voilaaa is one of the many projects led and produced by Bruno Patchworks' Hovart, who's proven over the past 15 years, his place amongst the finest producers of groove music in all genres.
This time exploring the wide spectrum of the African and Tropical Disco scene, he received a massive international support for Voilaaa's first album, On te l'avait dit, released late 2015 on Favorite Recordings.With a second effort already planned for spring 2017, Voilaaa has not finished to feed international dancefloors with heavy Afro-Disco vibes.Here comes the first single from Voilaaa's upcoming second efforts, made of 3 new killer tunes featuring Lass, Sir Jean, and Pat Kalla.