Buscar:29

AWB is back on the spaceship. He delivers this time 4 original tracks from deep techno to electronica. Berlin based producer Pris (known for his amazing work on Shifted's Avian) is giving his effective vision of Kinetic Lullaby on the side B.

Shimmering from the depths of experimental techno, Eduardo returns to Anemone with the Bhishma EP.

A side brings Ameega oldscool participation, while the B-sdie is a Solo Amadeo 85 Uptempo Funk pure groove ! Montreuil power !

Massimiliano Pagliara returns to Live At Robert Johnson with a double release titled Devoid Of Dimension Pt.1 and Pt.2.
Devoid Of Dimension Pt.1 will be avaible on 12" vinyl and digital. Devoid Of Dimension Pt.2 on 7" vinyl only.

Remixes from Ruede hagelstein & Amin Fallaha, Scuba, Julien Bracht and Tom (Alt-J) Hymn to the Night is the debut album from rising electronic post-punk duo, Lea Porcelain. The album was writt en and recorded over a two year period in Berlin's FUNKHAUS, a broadcasti ng house created under Soviet supervision that now houses the world's biggest recording studio. We are proud of what we have made and we have learned a lot through the process,' recall the band. The spectrum of the album is extremely wide.

Every song works together, playing with very different moods. We would describe it as atmospheric, cinemati c and melancholic'. Including the singles, 'Bones', 'Out Is In', and 'Warsaw Street' The song is rich in vibrant synthesizers and gentle vocals laced with percussion as lively as a marching band, creati ng a track as quixoti c as a lucid dream. - Stereogum

Ominous motorik kraut rumblings and the thudding electronic trickery of prime era Underworld. - Godisinthetvzine

Music-wise, we're thinking of smooshing together Joy Division with Echo & The Bunnymen (sure) coupled with the modern-downbeatness of The XX. So everything dressed in black basically. Brilliant stuff . - Killing Moon

An electronic duo from Frankfurt, Lea Porcelain have a dark, twisted yet oddly enti cing sound. - Clash Magazine

Steppas Records presents 'Osaka Steppas' Vol. 2, the second in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Dub Kazman and Roots Masashi. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Our 5th release is all about the heart and soul of Analogue. The label owners and key players of the Athenian techno scene, deliver one track each with their own distinctive character and style.

Grammy® Award-winning Rock and Roll Hall of Fame inductees Green Day will release Greatest Hits: God's Favorite Band on 17th November. The playlist includes 20 hits spanning the band's prolific 21 years as a band, plus a brand new song called Back In The USA' and a new duet with award-winning Country Music superstar Miranda Lambert on Ordinary World.' Green Day frontman Billie Joe Armstrong previously collaborated with Lambert at the 56th annual Grammy® Awards in 2014 for a live duet in tribute of the late Phil Everly of The Everly Brothers.

On 22nd March, God miraculously came down to the Ed Sullivan Theatre to introduce Green Day as God's Favorite Band' on The Late Show with Stephen Colbert. When God speaks people listen, and he granted Green Day the title: Greatest Hits: God's Favorite Band. The collection chronicles the sonic journey of one of the most essential and dynamic rock bands in recent history. Formed in 1986 in Berkeley, CA, Green Day achieved breakout success with 1994's Dookie which has sold over 10 million copies to date in the U.S. alone. Widely credited with popularizing and reviving mainstream interest in punk rock, Green Day would go on to release Insomniac (1995), Nimrod (1997), and Warning (2000). In 2004, Green Day released the rock opera American Idiot which captured the nation's attention and sold more than six million copies in the U.S. Mojo declared It's exhilarating stuff, the kind of record that sets new parameters as to what is possible from a punk rock'n'roll band in the 21st century.' In 2010, a stage adaptation of American Idiot debuted on Broadway. The band went on to release the critically acclaimed 21st Century Breakdown (2009) and the album trilogy Green Day ¡Uno!, Green Day ¡Dos!, and Green Day ¡Tré (2012).

Green Day is one of the world's best-selling bands of all time, having sold more than 75 million records worldwide. The group has won five Grammy Awards. On April 18, 2015, the band was inducted into the Rock and Roll Hall of Fame as a part of the 2015 class in what was their first year of eligibility for induction. Green Day's 12th studio album Revolution Radio was released on 7th October, 2016 and debuted at No. 1 on the UK Official Album Chart. Upon its release, People proclaimed: The punk vets still have a tattooed finger on the national pulse.'

"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.

These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.

The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."

- Henry Rollins (excerpt from the liner notes)

Music for post-apocalyptic deserts. Experimental synth-sounds with hypnotic percussions - imagine Moondog performing with John Carpenter and Cabaret Voltaire.

Relating to their live appearances, Phantom Horse might be named a lazy combo since they are not to be found on stage all too often. Yet their withdrawn approach fits this album very well - Als Ob' is once more a journey through inwardness, a contemplative excursion to the electronic outback, still friendly asking for your attention. There's plenty of things to discover if you listen mindfully, the Phantom Horse rides out where you as a listener like to be lonely. Those ancient synths are still around, playing their melodies as if* there were no time thieves waiting around the corner (*That is what Als ob' means).

Altogether, the sound has become more electric yet not eclectic, the duo has dekrauted, describing their sound as more ritual but of course avoiding any kind of mysticism and fairy-tale dullness.

Since 2015's Different Forces' (also on Umor Rex), Phantom Horse have fleshed out their friendly stoicism that hauls their experimental synth sounds into the area of songs - maybe even pop songs that aren't tangible at least. Welcome to the insular state of Phantom Horse.

Dj Richard returns with another stunning release on Dial Records: Path Of Ruin.
Inspired by the rather harsh magic of New England in winter - the place where the three tracks have been recorded - Dj Richard creates a wide and dark raving beauty.

2022 Repress

Our POP AMBIENT compilation series returns for its 2018 instalment, with series curator Wolfgang Voigt presenting another batch of hand-picked recordings from genre veterans and newcomers alike. The more seasoned among this year's contributors are easily identified by their individual artistic sensibilities, ranging from the morphing, organic rhythms of THE ORB's sample collages (on SKY'S FALLING) to KAITO's ethereal, trance-infused soundscapes (TRAVELLED BETWEEN SOULS) and MIKKEL METAL's intimate ambient songwriting (SHAME).
They join the ranks of Pop Ambient scholars such as MAX WÜRDEN & THORE PFEIFFER (co-authoring the sparkling PANORAMA), Magazine's JENS-UWE BEYER (creating rich drama out of cinematic textures on ATHOS) or Adjunct's KENNETH JAMES GIBSON (who pairs soaring strings with bubbly percussion on DISINCLINED TO VACATE). Pfeiffer can also be found working with genre mainstay LEANDRO FRESCO on opener SPLINTER, crossing the growth rings of the Pop Ambient family tree with a subtle, atmospheric collaboration. Another welcome return to the roster, Jörg Burger dusts off his iconic TRIOLA project last heard on Pop Ambient 2013 (KOMPAKT 269 CD 103) with the floating, echo-drenched cut L'ATALANTE.
After making his Pop Ambient debut on last year's instalment (KOMPAKT 365 CD 135), YUI ONODERA continues his exploration of deep, intricate string sounds on PRISM and NINE CHAINS TO THE MOON (CD only) - it's compelling material that shows the Tokyo-based musician and architectural acoustic designer as a strong addition to the Pop Ambient talent pool. He's joined by the two latest recruits to the series, both well-established artists in their own right: techno provocateur T.RAUMSCHMIERE flexes his drone muscles on the elegiac ETERNA, while pedal steel guitar maestro CHUCK JOHNSON creates expanding sonic spaces on the meditative BRAHMI - a uniquely immersive cut that draws from the idiosyncratic country post-rock he established on his acclaimed 'Balsams' full-length released earlier this year.
(de) Unsere POP AMBIENT Compilation-Serie kehrt für 2018 ins Rampenlicht zurück, natürlich kuratiert von Wolfgang Voigt, der auch für die aktuelle Ausgabe eine handverlesene Auswahl an Genre-Veteranen und Neuzugängen präsentiert. Bereits vorhandene Erfahrung mit der Mission macht sich unter den diesjährigen Beiträgen schnell bemerkbar - dank individueller Künstlerperspektiven,

von den organisch-rhythmischen Samplecollagen THE ORBs (zu hören auf SKY'S FALLING) zu KAITOs ätherischen Trance-Klanglandschaften (TRAVELLED BETWEEN SOULS) und MIKKEL METALs intim wirkendem Ambient-Songwriting (SHAME).
Im 2018er Line-Up treffen sie auf die neue Pop-Ambient-Schule, vertreten durch MAX WÜRDEN & THORE PFEIFFER (die gemeinschaftlich für das glitzernde PANORAMA verantwortlich zeichnen), Magazine-Mitbetreiber JENS-UWE BEYER (der auf ATHOS reiche Dramatik aus Texturen zaubert) oder Adjunct-Boss KENNETH JAMES GIBSON (mit aufsteigenden Streichern und sprudelnder Percussion auf DISINCLINED TO VACATE unterwegs). Pfeiffer findet sich ausserdem auf dem Albumopener SPLINTER wieder, eine subtile, stimmungsvolle Aufnahme, die er zusammen mit Genre-Wegbereiter LEANDRO FRESCO produziert hat - gewissermassen generationsübergeifend über die Jahresringe des Pop-Ambient-Stammbaums hinweg. Als weiteres altvertrautes Gesicht der Serie entstaubt Jörg Burger sein beliebtes TRIOLA-Projekt, welches wir zuletzt auf Pop Ambient 2013 (KOMPAKT 269 CD 103) gehört haben, und legt das durch die Wellen gleitende, echogetränkte

L'ATALANTE vor.
Nach seinem Pop-Ambient-Debüt auf der letztjährigen Ausgabe (KOMPAKT 365 CD 135) führt YUI ONODERA seine Erkundung tiefer, vielschichtiger Streicherklänge mit PRISM und NINE CHAINS TO THE MOON fort - zwingendes Material, dass den in Tokyo ansässigen Musiker und Architektur-Klangdesigner als besonders überzeugenden Zuwachs zum Pop-Ambient-Talentpool kennzeichnet. Zu ihm gesellen sich zwei Serien-Neuzugänge, die bereits äusserst erfolgreich an anderen Fronten tätig waren: der Techno-Provokateur T.RAUMSCHMIERE lässt auf dem elegischen ETERNA seine Drone-Muskeln spielen, während der gefeierte Pedal-Steel-Gitarrist CHUCK JOHNSON mit dem meditativen BRAHMI stetig wachsende Klangräume erschafft - ein herausragender Track ganz im Stile des eigenwilligen Country Post-Rocks, den er auf dem zuvor in diesem Jahr erschienenen 'Balsams'-Langspieler verewigte.

Massimiliano Pagliara returns to Live At Robert Johnson with a double release titled Devoid Of Dimension Pt.1 and Pt.2.
Devoid Of Dimension Pt.1 will be avaible on 12" vinyl and digital. Devoid Of Dimension Pt.2 on 7" vinyl only.

2023 Repress

This the first time this title has been available on vinyl . At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak, the sheer scope of their achievements is stunning — rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 .The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

'Macht Macht Zement'—what does it mean 80s drums, synths and vocals, almost without context. Fallbeil, two soon-to-be men (aka boys), finish tracks at the rate of butchers kneading meatballs. Due to laziness and a lack of technique, everything gets recorded on one track and immediately thrown into the frier. Nothing is planned. First up, school detention followed by rough LoFi rap.The album contains a wide variety of themes, from mailmen to warthogs, from latecomers to sensible conversation, every track is created out of spontaneity. Two very short tracks on this album date back to 1999, when the boys performed as 'Funky Granatos' in the local youth centers. Sadly, their performances weren't successful. Nobody wanted to listen to them and almost every concert ended in mass brawls. The track 'Postman' comes from the duo's side project Grand Malheur and was recorded in 2015 in Bronxfeld. More output from this project will appear on various EPs in the near future. The album title 'Macht Macht Zement' originates from Tom Pötgen. Tom always wanted to throw the sacred hand grenades. We hope he does that right now!

Distant Images is D.K.'s fourth release on Antinote and we can say quite safely that Dang Khoa Chau fueled a few identifiable obsessions over the years - for those familiar with his work, it probably won't feel like uncharted territory when they'll hear a somehow well-known guitar in the background of the title-track.
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What time spent collaborating with D.K. also showed us is how much his sound magnified itself and its textures sharpened for the past three years. We now know for sure that his music only seems versatile on the surface as Distant Images confirms that the Paris-based musician has been, in fact, digging deeper in the same direction, each new record working like a diaphragm, always more precisely adjusted to capture his inner vision. It feels, for instance, like D.K.'s music is constantly trying to reach a higher level of evanescence from one record to an other, a process which possibly accelerated after a visit from Suzanne Kraft - who he recorded an album with, earlier this year (coming out on Melody As Truth).

With Distant Images, D.K.'s sound also took a step further into reality - the most attentive ears will hear seagulls on Distant Images while rain is softly falling on Leaving - and slightly departed from the digital universes that his previous records seemed to set in motion. From the most abstract songs - like the Steve Reich-ian Shaker Loops

- to the most evocative ones, the five compositions on Distant Images are like stained glass, gently filtering natural light. It is therefore no coincidence if, of all the senses, the titles of the songs mostly refer to Sight: close your eyes while listening to the cinematographic Days Of Steam and visions of an industrious city might appearbefore you.

The beauty that emanates from Distant Images is of a diaphanous kind and the record a collection of kaleidoscopic moments.

The always-deep Closed Paradise serves up the first release for Better Listen Black Label, which will look to show off the moodier, house side of the DC imprint. The Secrets EP is four tracks of deep tackle, pulling from lush r&b soundscapes and vibes from far away places alike.

Since making their debut on the imprint in 2013 with 'Blue Aconite', the Italian duo Hiver has since released two more EPs on Curle; 'Same Mistake Twice' in 2015 and 'Soundescence' last year. Since the release of the latter mentioned EP, Hiver have been busy behind the booth, performing in the UK, China, Germany, Holland and, of course, in Italy, where they still hold a residency at DUDE Club. Kicking off the EP is 'Elipse', a stunning four-minute track that nods to avant-garde artists such as Wolfgang Voigt's GAS alias or Brian Eno, as the pair gradually weaves several layers of shining, atmospheric tones before slowly fading into the background. Title-named track 'Air Castles' follows, with the tight selection of drums combined with the ebb and flow of soaring synths creating a melodic style of techno that has become synonymous with their name. Next is 'Aleutine', a song that similarly blends Hiver's characteristically ethereal, hazy synths alongside more vibrant analogue bleeps to great effect. These delicate synths are later given the chance to gleam as the track comes to a close.Closing this excellent four-track EP is deep-groover 'Leisure', seeing Hiver up the tempo through their clever use of percussive elements, sharp synths and headstrong drums.

Ike Yard recombine their music looking across decades of post punk, electronic, soundtracks and come out with some of their best yet and enough to last the next 20-30 years (in Ike Yard´s very own words). Originally founded in 1979 New York City, members Michael Diekmann (keyboard, guitar, vocals), Kenneth Compton (programming drums, synths arrangements, bass, guitar, vocals) and Stuart Argabright (programming drums, synths arrangements, distortion bass, keyboards, metal perc) reformed the band once in 2007 and again in 2010. Each time different and with new ambitions. This time 'Sacred Machine' EP is defined by detailed drum layers supported by multiple basses and keyboards, some off-timing beat patterns that turn in a second of synchrony into a straight four on the floor kick and first time vocal collaborations.

Composition wise 'Sacred Machine' EP is recorded as a 'rehearsal'. As for Ike Yard songs would not be done so very many times in their existence, all threw in on each piece as they came into being. It sounds like a group that could have been doing records in Anthony Burgess and Stanley Kubrick´s 'A Clockwork Orange'. 'Night Klub' revisits Ike Yard´s original 'Night After Night' from 1981 EP. 'Sacred Machine' might be familiar to those who caught Ike Yard dates in Europe between 2007-2014 as one of the extended jams prepared for the dark ambient shows. 'Tear Drop' night airport music with sweet vocals by Camella Lobo of Tropic Of Cancer is followed by 'Spit' that explores Ike Yard NCR style with jittery beats, clomping, stomping cross cut beats. 'Slaves Of Janet' featuring Erica Belle brings to mind scenes in an S&M parlour with unused lyrics from the Factory America LP recordings.

After putting out Kito Jempere's stunning Sea Monster album earlier in the year, Hell Yeah now serve up a bunch of remixes from it that have been secret weapons for the last few months.

Der Wahlberliner Call Super aka JR Seaton liefert mit "Arpo" den Nachfolger seines vielgerühmten Debütalbums "Suzi Ecto" von 2014 ab, das das britische Mixmag zum "Techno Album of the Month" erhob und das Wire Magazin als eines der besten Alben des Jahres bezeichnete. Call Super, bekannt für seine spektakulären DJ-Sets im Berghain, Fabric und Boiler Room, beweist mit außergewöhnlichen Techno-Sounds wieder, dass er zu den einzigartigsten Produzenten unserer Zeit gehört, der mit nichts und niemanden vergleichbar ist.

As the head of Grounded Theory and MANHIGH, Henning Baer has since 2009 presented his downcast, experimental interpretation of modern electronic music to wide critical acclaim, establishing his forceful presence on Berlin's scene with immaculate curatorial skills and equally imposing DJ abilities. His discography so far, concentrated on Adam X's legendary Sonic Groove imprint and his own K209 and MANHIGH imprints, amongst others, keeps step with his formidable reputation and wide-ranging tastes, moving across the spectrum of hard-edged, aggressively modern techno. With 'Shatterproof', his long-germinating debut album for MANHIGH, he offers for the first time his unified vision in extended format, a varied exploration into the outer limits of the genre. At its centre a work of dark minimalism, he sets and maintains the pensive tone on ambient pieces like 'Angel Dust', 'All Over', and 'MIL-STD 461', which foreground the exploratory electronics that maintain their presence throughout. The corroded textures of the sounds, enveloped in decaying reverb, bring life to pieces like 'Never Ending' or 'Bliss', which sit between rhythmic interludes and the stricter dancefloor material found on the remainder of the album. Once he shifts into techno, he does it unremittingly, from the uptempo fury of 'Code Buster' and 'Burning Chrome', whose starkness only heighten the tension, to denser pieces like 'Drama Sky' or closer 'Vermillion Red', where the cavernous impacts of drum hits punch holes through beds of seesawing synthesizers. Shatterproof like its title suggests, Henning Baer's first album unifies and strengthens the work of an artist whose legacy is already assured.

After more than 5 years releasing exclusively their own material on their own label and with 12 EP released since nowadays there, NX1 use now the cultivated experience through this years to launch Nexe Records, a new platform with which they open to release other related artists and collaborations that will rule the label.

To get started, Nexe Records opens with a 3 EP vinyl pack which contains 12 artists remixing released tracks from NX1. The first three records are involving names such as AnD, Orphx, Blush Response, Ontal, Samot, P.E.A.R.L., Scalameriya, Go Hiyama, Surit, Lucindo, RE_P and The Exaltics, a wide sort list that define the borders and possibilities of the sound that the duo purposes for this new label.

The third EP opens with a classy electro remix from one of the most reputed names from the genre, The Exaltics. Following on the A side we also find Samot, half of the NX1 duo and who delivers a broken hard twisted remix that works perfectly for any serious techno set. The B side starts with an overwhelming raw acid version from the modular industrial artist Blush Response showing his unmistakable convoluted style. Last track of the record is done by the spanish P.E.A.R.L, serving a serious driving techno track that keeps you mesmerized with deep pads and a strong punching kick.

Alex Ferrazzi and Matteo Keemani a.k.a. Blue Mondays, longtime Laterra friends and collaborators (with releases on Sonar Kollektiv, Rebirth, Snatch!,Memento, Manocalda as well), strike again. They do it, as usual, their very own way: shades of Balearic flavours in there, but with a very dark and malicious twist. Marvin & Guy add some disco nuances (keeping it raw and obscure, though), while Nick Anthony Simoncino delivers a solid, strict, gloomy dancefloor affair. No frills, mad quality.

LET Amsterdam head honcho and De School resident JP Enfant returns to Mojuba Sub label a.r.t.less for his second release "Virtus EP". JP delivers three crafty, atmospheric, uplifting, highly effective 1990s Detroit Techno futurism schooled tracks for you, enjoy!

LumièresLaNuit is glad to introduce to you to Jams (LLNOFF003), third release of its OFF series by Toronto music composer and DJ
In2Deep.

Seattle artist, and From 0-1 co-owner Sone, issues his debut vinyl EP, 'Auroras'. Aptly titled, this EP embodies the characteristic ethereal nature of these light formations seen in the far northern and southern hemispheres. Deep heady atmospheres, and constant driving rhythmic motion perfectly embody the artist's vision.
'Australis' opens the EP with hypnotic rhythms and enigmatic textures. Milkplant continues the theme while ratcheting up the energy level, and injecting a touch of grit. 'Borealis' brings the funk with undeniable groove and tracky percussive power; serving as a great DJ tool. UK artist Operator (aka Rich Jones) turns the focus with heavy driving force, and an organic, acidic chug.

Italian artist Nick Anthony Simoncino alongside his best friend Giulio, return to Thug Records with a stunning 12'.

Driven by dark drums and harmonized by humid synthesizers, this record is made for the intensity of the club floor.

Recorded at Paradise Studio In Perugia. Programmed and mixed by Vescovo Simone, in art Nick Anthony Simoncino, and Giulio Mariotti for Thug Records.

Señales, Spanish for Signals, is the new work and debut at Femur by Rafa M. Espinosa, aka Geistform. It depicts a round trip to the darkest side, the sullen and dismal side of our sonic concept. The four tracks, which make up this 12' range from odes to smacking electro beat, obsessive mid-tempos, old industrial echoes and sinister and unsettling atmospheres.

Introducing Mr. Eff. Part myth, part man. Dragging by the arm to safety through digital swamps and haunted houses, The Parallel stands as a singular vision of Miltonian proportions. Small vignettes and passing scenes give way to grandiose and beautiful moments, from the wave-sleaze of Midnight Predator to the pre-credits Suicide-tribute of H E A R T T H R O B, The Parallel works as much for drive time as it does for drifting off to a far off land that is both wonderful and strange. Not to be ignored. Art by Eric. A Lee.

An addendum horrificata to the fantastic LP, Haex-Hrll AKA DJ Overdose returns from the nether regions of space with a louder dancefloor cut of sleeper hit 'North Of Warren' accompanied by witchy and dread filled extras. Remixes are provided by label heads Antoni Maiovvi who takes Test Tube Babies from the 'Further From The Truth' LP into tripped out waters and Vercetti Technicolor, who reimagines 'North Of Warren' for blood-soaked 90s Hollywood vampires. Brand new master by Brassica! Art by Eric A. Lee.

Hailing from Helsingborg but living in Berlin since 2012, swedish street artist and electronic musician Erik Jaahalli releases his debut on Borft. With smudgy analog romantic morning theme tracks bordering between chicago house, detroit techno and european new beat influences. But what youre hearing is geographically the sound of Lichtenberg Berlin now and more specifically the morning vibe at the private continous party Domestic Affairs. Lennie the cat and Dong Xuan Center included. -DJ Joakim Cosmo

Up next on Arcing Seas is Magna Pia with his second EP after his 2016 debut 'Incantations' on Coun-terchange. Behind the alias is Hüseyin Evirgen, one half of Cassegrain. ARCS-05 has a clear focus of providing combative dance floor trips, unorthodox sonic moods with subtle 90s techno references. The EP's track titles 'Artemisia", 'Semiramis' and 'Akasha' pay tribute to three mighty ancient heroines of very different origins. Consequently, Magna Pia continues his in-terest in combining techno tracks with archaic symbolism.

Acid Test continues their journey with the return of Achterbahn D'Amour. On their first proper release in three years, Jool & Iron Curtis patiently craft an intricate sound world - with the opening track, major-key pads hearken towards a bright future, hi-hats rustle like leaves and on "Dehaveland," percussive elements fall into beautiful, random unison like factory machines staging an after hours dance. Samuel Van Dijk's vaunted VC-118A project steps up for a remix, turning in a taut techno version that unfurls smoke pillars of ghostly ambience. The duo wraps up the four-tracker with an unexpected dreamy electro turn, "Don't Talk To Me." Throughout Acid Test 13, they remain in lockstep with the label's ethos - to bend, hammer and flatten acid lines into new, imaginative shapes.

The Power Dancers return with their post album 4th installment.
This psychedelic post punk inspired escapade sends out love lasers to all those we have loved and lost along the way, most notably the weird and wonderful Adam Goldstone.
Two brand new versions previously unavailable on the LP and a magical a capella that will set a mood for the mind ...
Powerdancers unite.

Sublime compilation of long-lost Australian indie-pop, acoustic jangle and beat happenings gathered by Melbourne-based collector and DJ Bayu and label head Moopie. Twelve tracks of singular vision spanning up- and downbeat pop, post-punk and minimal synth rarities recorded between 1982 and now. Australian twee pop royalty the Cat's Miaow shares the stage with the Cannanes and the Particles; Ya Ya Choral with Sarah Records' own Even As We Speak. Included is the previously unreleased 'Dot', by Mutant Sounds cult band Maestros and Dipsos. Full colour reverse-card sleeve with printed insert and lyrics sheet.

Released by Butter Sessions and Noise In My Head who are also known for their offshoot Efficient Space (Sky Girl, etc) - All Exclusive Tracks! Scratching the surface of Australia's independent electronic massive, Butter Sessions and Noise In My Head finally compile the second volume of Domestic Documents. Featuring all exclusive tracks, Perth godfather Ewan Jansen joins new WA blood Phil Stroud and Senate, respectively making hectic percussion tracks and hell bent techno, as Newcastle transplant Roman Nails emerges with his squelching one take tape experiments. Meanwhile in Melbourne, Fia Fiell's ambient mind maze and Butter Sessions alumni Booshank target the cerebral cortex, Hotrod goes full turbo and live/DJ wingmen Miris and Norachi share the same side of their vinyl debuts (alongside the freakishly underrated Colours of Infinity - aka Kloke). Kangaroo Skull and Cale Sexton fly the flag for Temporal Cast, the latter on a calming club collab with Sleep D. - Liner notes from Ivan Smagghe and artwork from Misha Hollenbach (Perks and Mini) - Features many rarities reissued for the first time ever (Karen Marks' most wanted Australian cold wave single last sold for 290€ while Once traded for 170€) - All tracks officially licensed, sourcing original masters when available - Includes digital download

Following a run of local transmissions from A Sagittariun, Crump, Rob Smith and Atki2, Idle Hands turns its attention to Berlin and the straight-up, no-nonsense techno thrust of Johanna Knutsson and Hans Berg. Both respected artists and DJs in their own right, the pair have been turning out 12"s together for The Free Spirit Society, Klasse and Crime City Disco over the past few years, but most importantly they've been steering the excellent UFO Station Recordings as a vessel for their punchy, primal techno tracks.

The sound on this EP taps into the pure form of stern, dark dancefloor tackle favoured at Idle Hands - no extraneous filler, plenty of space in the mix, but equally built with warmth and personality rather than monochrome functionality. If you need further proof, just look to the fact the EP is named after a Swedish soap opera from the 90s.

The bleeps and bass tones that pulse through "Taggen" are so finely crafted they need not skip and dance around the arrangement. The melodic interplay on "Klimax" is subtle but ultimately uplifting and optimistic where so much techno concerns itself with oppressive gloom. "Bimbo" finds the pair embracing a more psychedelic approach, but even here the modulating effects processes are kept within certain boundaries so as to not dilute the impact on the floor. After all, this is music to dance to, to be felt over a large system (where possible).


Moving from leftfield bass excursions to minimalist 2-step, UK techno and now onto this much more continental sound, theMälarviken EP continues to widen the range of Idle Hands' musical tastes without losing sight of the complete picture.

Finnish legends and everything-but-grey eminences of electronic music, Jimi Tenor and Freestyle Man revive their dormant partnership on this four track EP for Studio Barnhus, jam-packed with classic drum machine funk, congenial synth lines and Jimi's unmistakable lead vocals and flute-playing. The Sleepover EP is fuelled by the two maestros' mutual love for New Jersey house music and pyjama parties, as well as musical wisdom gained from numerous collaborations in the past, ranging back to some fabled mid-90s Sähkö releases. Live show booking now! Artwork by Robin Ekemark.

Following on from his intimate entry into the DJ-kicks mix series, Lone is putting out a vinyl only EP of all the unreleased tracks from it. The horizontal mix tapped into all of Lone's influences, from hip-hop to house, IDM to techno. It also showcased some producers signed to his own Magic Wire label, and of course the back bone was built from some of the Nottingham man's freshest new productions. They come after celebrated releases on Werk Discs, R&S and Dekmantel, and include dance floor aligned EPs and more rounded full lengths designed for close listening. Here he sits in between the two across three thrilling cuts. Opener 'Saturday Night' is a breezy bit of deep house with crisp boom-baps and swirling pads that lend it a dreamy, ethereal feel. Spoken word snippets are stitched into the groove and the whole thing is as frictionless and feel good as house comes. Next up, 'Arc' is a little more direct, with scattered snares flapping over dry wooden kicks. It's a punchy bit of house latest DJ-kicks mix star Kerri Chandler would be proud, and comes overlaid with spring time flutes and luscious pads as a classically inclined bassline powers things along. Last but not least is 'Alpha Wheel 4' (Ambient Mix), a kaleidoscopic passage of suspensory sound scuffed up glassy surfaces trapping you in rays of refracted light from start to finish. All three tracks exhibit Lone's authentic, lived in and lo-fi aesthetic, and as a result slip perfectly into his ever more essential discography.

Seven years into its celebrated journey, Life and Death assembles its third and most adventurous compilation to date - Displaced Soundtracks. For the first instalment in a new series, DJ Tennis has given free rein to some of his most trusted contemporaries, enabling many of today's most respected dance music producers to display their hidden talents as composers. Gathering music from a long-aborted film, the collection stands as another bastion of Life and Death's perpetual evolution. Duncan Gray embraces dissonance, Black Merlin, Appleblim and Artefakt go interstellar and Fango channels post-punk squat music. Hades Rocket showcases the expertly-sequenced synth work that has graced Simian Mobile Disco's illustrious career, while Redshape revisits all the right sides of 80's Wave and Library music. Danny Daze and synth-savant KINK embrace non-standard tempi with great success, while Axel Boman delivers sitar-laced gospelhouse without a bass drum. Elsewhere, your favourite producer's favourite producer, Stimming, team's up with pianist Lambert and the pair learn to fly. Inspired and challenging, Life and Death ventures into their eighth year confidently, constantly evolving without compromise.

The first Single of Prins Thomas coming - 5th Album - first Single on the new label as well gets unveiled with "A" remix by our dear friends from Pional! plus there´s a an extended 12" version by Thomas.
Thomas on "Å" : Initially the final track AND then: scrapped idea for the alphabet soup of "Principe del Norte". Later evolved into what we have here. Comes with a really nice remix by Pional on a separate 12 here!

Legendary James Brown's protégée Martha High teams up with mighty Japanese Osaka Monaural to pay homage to "JB's Funky Divas" in her new album "Tribute to My Soul Sisters".

Original Funky Diva Martha High has been an integral part of James Brown's life and career for more than 30 years. She was his backing vocalist, hair stylist, payroll master and his always loyal and reliable confidant.

The idea for this project was hatched back in 2014, when Martha was visiting producer DJ Pari, head honcho of the Soulpower organization and manager of soul legends like The Impressions, Lyn Collins and Marva Whitney. While reminiscing about tours with her fellow James Brown veterans, Martha felt that a tribute to the great soul sisters of the JB Revue, better known as "James Brown's Original Funky Divas," was very much needed.

"I looked up to these ladies of soul," says Martha, "Given the opportunity and the pleasure to perform their songs, is my way of saying: thank you, you're not forgotten. To record the music of the Funky Divas, would mean a lot to Mr. Brown. He always wanted the world to know he had powerful women on stage that could hold his crowd while he was off the stage. They were just as powerful and funky as he was."

Without further ado, following DJ Pari's advice, Martha partnered up in Tokyo with one of the hottest names of the new funk renaissance: Japan's Osaka Monaurail. Deeply influenced by the work of James Brown, Bobby Byrd, Curtis Mayfield and with nine albums under their belt, Osaka Monaurail have been leading the international funk scene for more than two decades, appearing at festivals such as Montreal Jazz Festival, North Sea Jazz Festival and Womad's, as well as recording and touring with funk legends like Marva Whitney and Fred Wesley.

This unique collaboration gives new life to 13 soulful pearls, masterfully interpreted as only an Original Funky Diva can do. To name a few: "Think (About It)", made famous by the female preacher Lyn Collins, "Mama's Got a Bag of Her Own", Anna King's answer to Brown's "Papa's Got a Brand New Bag," "This Is My Story", of which Martha recorded the original version with The Jewels, and the soul classic "Answer to Mother Popcorn" by Vicki Anderson.

Born in Victoria, Virginia, and discovered by rock 'n roll pioneer Bo Diddley, Martha started her career with the soulful, legendary doo-wop group The Four Jewels, with whom she scored the national hit "Opportunity" in 1964. Soon, The Jewels caught the attention of James Brown and joined the James Brown Revue in 1966. The Godfather of Soul recorded and released several songs featuring The Jewels until the group disbanded. Nevertheless, Martha stayed with James Brown and continued to work with him as his personal vocalist for 32 years. She was with him at the Boston Garden during the iconic 1968 gig after Martin Luther King's assassination. She was by his side when he performed at renowned "Rumble in The Jungle" event in Zaire. Mr. Brown produced several of Martha's singles on his own People label such as "Georgy Girl", "Try Me" and "Summertime." Meanwhile Martha launched her solo career in 1979 with the self-titled debut LP for Salsoul Records. Since, she has released five albums under her name and, being one of the "hardest working women in show business", she became one of the leading singers of saxophonist Maceo Parker's legendary funky music machine, working with him for 16 years.

Throughout her career Martha has shared stages worldwide with iconic artists like Little Richard, Jerry Lee Lewis, The Temptations, Aretha Franklin, B.B. King, Stevie Wonder, Prince, Michael Jackson and George Clinton. Martha has been carrying the torch of soul music for her whole life, like a true soul sister. Now, with this new effort, she is keeping the music of the Funky Divas going, and we are sure that the Godfather of Soul and her faithful audience would appreciate it.

Alien Jams presents a new release by Wilted Woman called Home Listener. After releasing the amazing "Diary of a Woman" on She Rocks! earlier this year, WW is back with this sublime 5 track EP. From the onset, playful synth patterns mingle and coalesce, spiralling towards dizzy culminations. At times wobbly and disjointed, WW creates stunning compositions that would work magic on the dancefloor. Each track of Home Listener feels like its own paranormal entity, living organisms that develop and grow as the music unfolds.

I have no words to say about this album but, wow... Simply, Wow.

What is this Who is this dude

He (Atle) got the funk. Atle got the soul. Atle got the smooth sound of Westcoast. When he was in his teens, he spent all his money on music, women and party. Here is the result of 10 handpicked demos from his vast archives. This stuff has been sitting on the shelves since late 70's and has been carefully restored, mastered and produced exclusively for this album.

Last year's On the Corner underground smash release, the 12' EP Santuri's Embaire Umeme, introduced Uganda's Mugwisa International Xylophone Group (M.I.X.G) to the world.
The recordings center on the Embaire, a giant xylophone native to Ugandan folk music, which is dug into a pit for a natural, earthy bass resonance as gargantuous as the instrument itself. The instrument performs a key role in village life, with ceremonial playing sessions lasting for hours on end.
These recordings may be esoteric in nature but they add important context to the Santuri's Embaire Umeme 12' and are a vital documentation of the Iganga village's culture, as well as that of Uganda. Jones has artfully chopped the epic session into a series of short evocative chapters to create a pioneering masterpiece. Remix duties are led by Griot House innovators, The Diabolcal Liberties, who have raved-up some Sun Ra frequencies for the cosmic junglist crew.
Last but never least, Victoria Topping has created beautiful artwork using the session photography taken by Jones during the recordings

1990s EBM tinged, direct Techno banger

We are honored to have one of the best forward thinking artists in the roster back in our catalog, This time on Collective. ASC is back to with 3 original cuts that define hypnotism on another level. The record contains also a very rare gem, Acronym is back on the label, his remix of the title track 'Sentinel' is pure class.

For the fourth release on 6dimensions, Steve Bicknell has delved into the catalogue of the Lost Recordings series on his previous imprint; Cosmic.Steve Bicknell's Awakening The Past feature three tracks from Why And For Whom, the first of Bicknell's Lost Recordings releases. Originally released in 1996, Why And For Whom Has been named one of the best UK Techno records of all time with Bicknell being billed as a 'criminally underrated producer'.With the re-release of these tracks in 2017, it is clear to see that the tracks have stood the test of time. All four-tracks on Awakening The Past were previously untitled but have been renamed with a focus on the human condition. With the 6dimensions label being founded on the principles of the 'human mind's natural make-up' it seems a natural decision to rename the tracks to suite the label ethos. Although one quarter of Awakening The Past was released 20 years ago, Bicknell's focus on mood shows coherence between his work then and now. The era of production can be distinguished in the EP, however, this is only eminent through a difference in recording technique. More importantly, the mood of older and newer productions are indistinguishable from each other and display Bicknell's unrelenting dedication to his own focus on concept of aesthetic. Physical Life' opens the EP with a rawness that is carried through the EP. With tape hiss underpinning the track, Bicknell's signature bass grumbles hold together hi-hats which progressively filter in and out over the course of the track. Bicknell's use of filters carries through onto the second track of EP, 'Natural Vibrations' boasts an erratic and high-pitched 303 sequence that shows a bit of experimentalism before the EP steps back into Bicknell's more familiar techno odysseys. 'Fearing The Minds Fears' paints a tense atmosphere, lashings of motoric modular synth are added with little fuss as the track title confirms its significance. Finally, 'Conscious Awakening' drives the EP to a close with dizzying pace: it's here that Bicknell's ability to control the emotion of the listener is really evident.

Backyard Boogie present their first release from the new label coming out of Amsterdam. The release comes from the friendship of Charlie & Jody and what they created together coming from two different musical backgrounds, now with their music crossing paths. They used a variety of analog machines and field recordings to help create the music. The release also sees a collaboration with a local Amsterdam artist Ardjoen Mahangoe, who helped create the artwork for the release.

God descended from heaven in form of a record to let the world be part of his anger.

After a little more than three years since the beginning of the label, Tensal returns with a very strong new double work. It contains eight tracks in which he defines the new evolution of his sound without losing too much sight of his roots.

Banging Acid Music from a master of the genre... First full EP from this talentuous Italian producer, with a very aerian acid melo style, and a hard kicks... With this strange feeling that it's a mix, natural live set sound !

Sebastian Eduardo burst onto the scene in 2016 with a fine debut EP entitled 'Ultima Necat', now comes his second EP, this time released in The Untold Stories Protagonist Series. Dedicated to the legendary poet Hanshan, the EP is a deep and personal offering, it keeps to the style which made his debut so appreciated: positively charged, quirky and enlivening micro house, but this time there's a deeper personal dimension to the tracks, a nice development and another welcome offering from the young Swiss producer.

Rabotnic is back to Paragram with new interesting project Raborb. Victor Lihonosov and Alexander Kuredenko are Raborb, Moscow based duo founded in 2015. Rabotnic is one of those standout names amongst the current wave of young Russian producers and Orbet supertalented producer who have a lot of secret weapons. Greek producer Markos Spanoudakis aka Kreon has made really nice remix.

Optimo Trax presents a 4-track EP from Germany's Mathias Schober, head honcho of Berlin's Lossless label. As always we prefer to let our artists do the talking. Here's what Mathias has to say about this release -
The idea behind all tracks on the EP was a simple setup of drums and one synth that would do a main sequence/sound, yet there's a lot of detail in all of them. 'In A Certain Way' features a 808ish beat with a main sequence coming from a tiny monophon synth called Atmegatron - 8Bit love, it turned out being much more music than I thought it would be when I set everything up.
'But What Rules Are Made For' is the same setup but the sequence is a 101 and so are all the washed out fx synths. On 'Is To Break Them' I went a different route, I had the dub, delayed stabs synth first as I was messin' with my Moog and a Space Echo - which btw is used on every single track I release, if you haven't noticed yet.
So I was trying to build something around those stabs in order to fit the track to the others and so I ended up with another sequence coming from my Moog. As there was still space on the record, I decided to add an ambient version of 'Is To Break Them', I love the ambience on this track. I hope that my love for dub sounds is obvious enough on these tracks. Happy I found such an excellent home for the EP!

DOMINIK might be known as a resident DJ of the CLUB SCHWARZES SCHAF in his hometown AUGSBURG. There he started throwing parties alongside DANIEL BORTZ anddeveloped his style of DJing. Over the past years DOMINIK released music on labels like PASTAMUSIK, SUOL, LIEBE DETAIL and O*RS. He is also part of YANDOM ( a project together with YANNICK LABBÉ).
DOMINIK's productions are influenced by various kinds of music, let it be techno, house, disco or electronica - a mixture you can hear on his recent TRYADS EP on &ND MUSIC.
A sound already loved and played by the likes of SBTH, BARNT, MARVIN & GUY, AERA andmany more.
At the moment DOMINIK is working on EPs following his EP on &ND MUSIC, both solo and
as YANDOM.

Optimo Music is delighted to continue its fruitful relationship with The Golden Filter with the release of this fantastic 4-track 12' EP.
We always prefer our artists to speak for themselves and avoid bullshit PR hype so here is what they have to say about this EP -
We're quite agnostic, and unreligious, but if there is any vibes associated with the EP (and maybe all of our music) it is very Buddhist in its ideas. Mindful. Aware of impermanence.
The whole EP is about being with the one(s) you love when everything else around you breaks down. Looking inward, with pure love, in the hope to radiate outward, rather than pushing for a fight, or running away. Recorded, written, and produced in isolation by Stephen and Penelope on our own in East London Studio space.
The EP starts with the song 'End Of Times' which is a dramatic, Shangri-Las influenced take on feeling powerless in a chaotic world, but still high on love. Happiness can be found in analog reverb. This is followed by 'Serenity', a hard and tranquil meditation of past + future.
Side 2 leads with 'Heart Control', with a slight nod to Pink Floyd. A nine minute plea to ourselves to keep it all focused and under control... The EP closes with 'Darkness Falls'. The lyrics for this came from an apocalyptic dream that Penelope had, and wrote down in the morning. the music is 100% purely modular, er, except for the tiny bits of guitar at the end.

Limited edition 200 Copies

The Master is back, not many words needed to introduce one of the biggest pioneers of Deep & Emotional Electronic Music. Karim Sahraoui play on a league of his own, this is the second release of many to come. Thank you.

Between the end of the 70's and the early 80's, a new sound appeared in London and its surroundings, a unique mix of Funk, Jazz-Funk and Disco labelled as Britfunk. Characterized by its raw energy that can put the needle In The Red, this up-tempo sound was a match for the UK's dancers and Jazz-Funk clubs.

This first release by French label Chuwanaga features some of the most exciting, rare and powerful tracks from that era compiled by the Parisian DJ and activist Saint-James, with bands such as Equa, Potion, Inch by Inch, Congress, Index and Spookey. It features also an insert with an in-depth focus on this musical era.

These young British musicians were equally inspired by the American Jazz-Funk productions and by Dub music and Reggae pushed by the Afro-Caribbean community who were at the heart of Britfunk's development. They gave Funk a unique British flavor. However, more than just a music genre or an enclosed expression of black Britishness, it was part of a genuine musical and social movement with its own dedicated labels, fashion sense and most importantly its own set of values that fueled the whole scene. Britfunk built itself within a multicultural evolution: black people, white people, straight and queer, all dancing in the same room to the same loud sound.

47013 sees the first solo EP from the label head himself, Tommy Four Seven.

After releasing 8 dance-floor focused cuts across 47's VA series, 47013 follows three well received solo EPs from Killawatt, VSK and Headless Horseman. This record sees Tommy present perhaps his most diverse and resolute release yet, exploring merciless low frequencies and sound design across 4 diverse tracks, as always offering his forward vision of techno.

Listening to Unknown Path's Pathfinder for the first time is a claustrophobic experience. It's as if the tracks had been recorded to tape and left to decompose for 10 or so years, then dug up and re-recorded. A thick layer of grunge and an overall murky feel sets the tone for Path 0.1 and continues throughout the EP. Paths 0.2 and 0.3 add a more upbeat feel to proceedings, as the beats get scattered around like they were in a pinball machine. Path 0.4 finishes off the experience by bringing the tempo back down, while all the time keeping the uneasy atmospherics that make this EP a unique and rewarding listen.

For the 4th release from our beloved 'Ourselves' they've once again invited a group of friends to serve us up a healthy dose of tasty House and Disco. This time, originaltracks from Luvless, Snacks, Siggatunez und Jan Ketel are on the menu.

For starters we have Luvless from Leipzig whose prepared a floor stomper with a side of heavy drums paired with a warm chords- and stringsounds and a groovy bassline... completely love.
The Berlin duo Snacks appear for the first time on Ourselves with their track 'Sisters'. A delicious Disco snack that sounds like an effortless kitchen jam with an extremely funky aftertaste - you're tastebuds will be dancing. Hand played bass sprinkled over percussion, guitar licks and building up synths....hopefully you like your snacks authentic...they muste be true musicians...they are!!
The one love disco & funk and the other jazz...so does Siggatunez. He cuts us up a vibraphonline and sends it on the chase with a chord so delectably deep that not even the side of fat drums can keep up with the bounce and speed it creates but finally gets it and breaks down the club.
Jan Ketel has prepared a desert that at first, tastes like a mere groovy tool but it soon opens up into something bigger and more hectic. It's like you gotta check in at Charles de Gaulle while in anothher moment the unmistakable flavour of a lush warm Rhodes appears...a timeless flavour, and one that you'll never forget.

'Shays Vacation House' is a work that feels suspended in time - both ancient and modern -- a microcosm that ceases to exist in any particular time or space...exceptional acousmatic sound design animates amorphous creatures and entities, whose movements echo on dripping walls, yet the eerie, mysterious environment remains entirely ambiguous. hovering above the post-apocalyptic landscape of a scorched planet regenerating. Emra Grid's second Opal Tape is a profoundly beautiful work, loaded with emotional weight

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Awake at an undefined hour. Floating between the realm of dreams and open awareness. Accept it — you're a headspace passenger. Talking to a machine is a thrill for a moment or two. You want to go out, need to get lost. It's still yet all under the surface ... but you know it's going to happen, eventually. What you need to do is: return to the same old place. What you think is:

I hope the roof flies off, and I get sucked up into space.

This is the debut album by Berlin-based musician and futurist Andre´ Uhl. Crackling noise, moody arpeggios, and haunting melodies tell tales of the hazy past, moving into the twilight of the future. Each of the 13 songs is a dark and cinematic piece on it's own - altogether combined a compelling story, here for the listener to explore.

The album is available digitally and on vinyl in a limited edition of 300 copies, including a booklet of 13 short stories by different writers like the Czech visual artist and poet Katarina Hruskova, Berlin-based subcultural magickian Daniel Jones, and the British novelist Chris Brownsword - each story inspired by one of the 13 songs. I hope the roof flies off, and I get sucked up into space is the first trueness presented by Neofakt, a new label for audio, text and visual art.

Lithuanian Alex Krell rides the new wave of deep and dark techno straight into the Sodai fold, delivering a comprehensive and cohesive four track EP for Gardens Of God's respected imprint.
Enticingly deep and dubby, title track Parallel Seduction sets the tone with a rumbling bass and reverbing stabs. Optyx picks up the pace, with driving percussion and shimmering synth soundscapes. The subtle distortions of Wiemar are next up, conjuring a deep brooding atmosphere. Lastly, Knocturne is expertly crafted for the dancefloor leaving us fully immersed in a flawless EP.
' I find it difficult to finish tracks, so most of mine are made in just one session' Alex reveals. 'I also avoid listening to electronic music when spending time in the studio, because with all those sounds stuck in your head it's hard to keep your originality.'
Alex Krell is a DJ, producer and petrolhead who lists Led Zeppelin, Nirvana and Queen as his influences. Now living in the capital, Vilnius, his background enhances his productions with a uniquely dark and earthy energy that makes his techno stand out from the crowd and proves he is one to keep a close eye on.

Heavyweight (180gr.) gatefold LP, including a download code.
The first-ever reissue of Jon Hassell's "Fourth World" masterpiece originally released in 1981.

Collaborators include Brian Eno and Daniel Lanois (U2, Peter Gabriel) and Michael Brook (Nusrat Fateh Ali Khan).

Beautifully re-mastered, with a bonus track ("Ordinary Mind") and liner notes written by Hassell himself.

The new EP by rRoxymore signals another audacious step forward for one of the most daring artists in the electronic music diaspora. 'Thoughts Of An Introvert Part 1' is born out of introspection, out of the necessity to disconnect from the frenzy of crowds and to create a soundtrack to an inner landscape which exists beyond the reach of government and dogma. In the words of the artist, "it is a sonic diary of sorts, cataloguing the events of a world which has not yet been invented, in the form of three mesmerizing dance tracks free of nostalgia and the expectations of style."

The spatial afro futurist funk of 'Prodrome' finds rRoxymore balancing darkness and optimism as only she can. The title track, 'Thoughts Of An Introvert' is instantly familiar and carries a soothing utopian spirit, so needed today. Mycetozoa, the closing track is bouncing, drum driven and mad, a celebration of rRoxymore's complex musical mind, offset by irresistibly banging toms and rolling rimshot patterns. It is a track which is at once melancholic, happy, vulnerable, and full of hope. Everything seems possible on the dancefloor this music was written for.

Pittsburgh-born Phillip Ballou's earliest years were spent in the gospel field, after he moved to New York City in the '70s, he teamed up with Bennie Diggs and Arthur Freeman, founding members of The New York Community Choir and singer Arnold McCuller to form the group Revelation. The quartet recorded for RSO Records, scoring some R&B success in the US with tracks like Get Ready For This' and You To Me Are Everything,' touring the Bee Gees among others. Phillip also sang on albums by NYCC recorded for RCA Records and continued with Revelation until 1982.Frequently hired for sessions in and around New York, Phillip teamed up with UK soul music journalist David Nathan (who he'd met in 1974 during Nathan's first US visit) and John Simmons, formerly a member of The Reflections, another New York vocal group to write a series of songs for his own proposed solo record deal. Although a contract did not materialize, one of the songs - Ain't Nothing Like The Love' - got some interest from famed Philadelphia producer Thom Bell who presented it to The O'Jays. Ultimately, the tune was turned down by Kenny Gamble and John Simmons, by then musical director for Stephanie Mills, recorded his own version for a small independent label in 1981.Phillip continued his own musical journey, touring and recording with James Taylor and Todd Rundgren. In addition, Phillip's name graced recordings by George Benson, Billy Ocean, Kashif, Nona Hendryx, Jonathan Butler, Teddy Pendergrass and Melba Moore, in 1981, he began recording with Luther Vandross and became a part of Luther's touring band for many years, as well as singing on productions by Luther on Aretha Franklin, Dionne Warwick and others, continuing his association with him until Luther's 2003 stroke. Phillip returned to his gospel roots in 2004 as Minister of Music at a Brooklyn church and passed away in March 2005, aged 55. Thanks to renewed interest in the John Simmons' 1981 recording on YouTube, David Nathan has uncovered several tracks from the 1978 and 1979 he did with Phillip and John including Phillip Ballou's original version of Ain't Nothing Like The Love,' gaining its first ever worldwide release as a 7' single on Nefer Records in association with Super Disco Edits

Silencio celebrates the first year of the label with a double-pack vinyl aptly titled Uno.
Comprising of new and established artists, the tracks on Uno collectively summarize the the feel of this label's year, while giving us a hint of what to expect in the year to come.
Click Box & Stefan Dichev kick off the release with 'Memories'. Presenting a collaborative production that will prove over and over again why sound is one of the strongest senses tied to memory. Engineered with emotionally responsive rhythms that roll into a rocksteady baseline, this track evokes feelings with finesse. "Memories" also features funky squiggle sounds and trailing even-tempered tones to punctuate its procession. This is one you'll want to relive every time the opportunity arises.
New comer Wave Particle Singularity has done it again. 'Virtue' is a tremendous track that will quickly establish itself as one of your new favorite things. The drum sequence, accented by beguiling background sounds and curious vocals, gallops throughout this selection with all its feet off the ground together in each smooth stride. Plus, it also comes fully equipped with a pleasingly unpredictable pace in the form of some moody, well-orchestrated changes that result in a perfectly adjusted attitude. Never a dull moment on the dance floor.
Guaranteed.
Kepler.'s latest offering 'Tool A' possess all the qualities one would normally associate with a fine wine because the taste left on the palate after its consumption is both complex and satisfying. During its ascent, effects that compress a thousand echoes into a single sample ride alongside an active baseline that ripples accordingly. Subtle, flavorful snippets bleep and bloop in complete balance, giving this cut a coordinated, contemplative vibe that brings everything into focus.
With his first track on Silencio, Yuuki Hori's 'Scene 5' is truly a unique item. This electromechanicaly exotic sounding export from Japan makes an impression with layers that are neatly stacked and minimal to the max. Its main feature, a sample that seemingly mimics the mating call of a male bullfrog, rhythmically ribbits in harmony with the beat, bellowing over the entirety of this track. All the various elements of this composition come together in a natural way that feels symbiotic and sounds superb.
Another Silencio first, Jorge Ciccioli's 'TD8' has a deliberate intention to create momentum, with a deep, penetrating baseline that rises to the occasion by descending the darkest depths of its own digital horizon. In the midst of the mix the listener is greeted with a clever chorus that effectively sounds like air vibrating, or in layman's terms "blowing", within an empty glass bottle. As it goes through the motions, observe how every note is noticeably nuanced in an effort to reflect the subtle changes that take place.
Closing out the release and year for Silencio, is Laughing Man with 'Reach Out'. Hard, heavyand heavenly are all terms that could be used to express the sentiment of this selection.
Notice how right from the get go this production profoundly pounds out its agenda with a solid, speedy beat that relentlessly rocks throughout the recording. Accompanied by aseries of wavy, spirited vocal layers, ringing bells and an inspired intersection of cymbals,this track is one hell of a ride that will enable you to make contact with the other side.

Next up on the main label there is a shureshot by Sebastian Habben himself. With Pasadena he delivers a blinding baseline-journey that evolves into a deep techno track including some heavy dub chords. Not as heavy but therefore even more groovy Montebello present a slightly house influenced dub track that is matched with classic sounding chords and a cool vocal sample. On the remix duty we are more than happy to see our Italian buddy Federico Alfieri join us with a superb dub techno version of Pasadena. Give it a spin!

Konstrukt. Hear the heart pulsating. Konstrukt 007 w/ Serena Butler.

"Veil Of Flames" is the second solo EP by label head Kastil in 2017 after the successful " The Sadistic Abbess" earlier this year.

Threading through the corn fields, wearing nothing but a cotton scarf, her body is like an abstract painting. He who beholds her with unpure sentiments, sees not what she is made of.

Her fierce complexion radiates briefly before she speeds up her motions. Out of breath she arrives at the altar of affection. She won't sacrifice her decency for a
chance to be with god.

DJ Future is back on 117 with a journey into his dreamworld
of breakbeat mayhem.