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The second part in the Hudd Traxx 10th Anniversary 'Now & Then' compilation sees tracks from Luna City Express, Sek, Iz & Diz and Rick Wade. Berlin duo Luna City Express serve up a lush deep house groove that builds throughout the track, and will bring a smile to the faces of those who follow them on their beloved Moon Habour Recordings. Sek uses slick beats, trippy leads, a driving bassline and some 'Thug life' vocals to ensure this one has 'future classic' written all over it. Go back in time (to 2006 to be precise) on the 'Then' side to find Iz & Diz's 'Happy'. The words 'epic' & 'journey' are often misused in music but both can be mentioned about this track. It had devastating effect on first release and is set to do the same again nearly 10 years later. Rick Wade closes things out in fine style to fly the Detroit flag on an all Chicago / Detroit side.

Nologo is back with 2 essential, tried and tested underground club tracks. Orlando B serves up Side A with 'Dark World', an epic, slow burning, dark-house journey. 'Dark World' begins completely stripped back before the main hook, an eerie hypnotic vocal is introduced. Funky percussive elements creep in which drive the piece forward and a deep minor pad heightens the tension setting the tone for the rest of the track. The energy builds gradually with the addition of a 303 bass line peaking just before the end, taking the listener on a dark hypnotic trip.

On the flip, is none other than house & techno legend MR G who uses the Dark World vocal but takes it somewhere new providing his own unique and distinctive flavour. Mr G's Rum Remix is a dark and twisted peak-time banger, the high energy from the off set perfectly complementing the slower vibe of the original. Plenty of sub and twisted synth action keeps the momentum high and the dark stab he uses punctuates the vocal nicely giving it a raw edge. 'Dark World' is an essential addition to the record bag for darker dancefloors.
Dj Deep: I love this, your remix is super Funky and Dark at the same time!!! Dope! Tom (Panorama Bar): Ufff nice and dark.....another Mr G gem.To be served with the Rum Rush

secretsundaze 017 comes from London based producer Endian. Releasing just 2 EPs in a few years on Nonplus and Electric Minds, Endian has nevertheless managed to turn the heads of the likes of Steffi who used one of his tracks for her Panorama Bar compilation and Boddika who also licensed a track for a various artists EP. Sounding like a producer far more experienced than the two releases would indicate, it came as no surprise that this is far from the output of a novice but the seasoned veteran George Levings aka Commix (Metalheadz).
Endian has been a regular at secretsundaze events over the years and a friendship developed with Giles and James. The project is an outlet for him to release the more technoey and house sound that he is increasingly inspired by.
Lead and title track 'Finish Me' is a stone cold killer. Ballsy, raw and over driven in the mix, a tribal breakbeat groove builds before brassy stabs sneak in. The peak of the track sees dramatic pads cut through for a moment of serenity before the drums drop back in. Joy Orbison used 'Finish Me' in his Essential mix late last year and its also been a highlight of secretsundaze's sets over last 6 months. 'Dusty' goes deeper with a layer of fuzzy warmth enveloping the track. Driving but definitely one for the later hours or early on with its hypnotising flow and subtle musical flourishes. Last up 'Sub Tropic' is a heads down, growling, low slung techno track with its deep sub bass. This is definitely a track you can imagine hearing in the bowels of Berghain well into Sunday daytime. 'Finish Me' is arguably Endian's best work to date and it's another fine addition to the secretsundaze catalogue.

'Psych', the long-awaited Freaks album released in 2014 gets a re-release in 2015 with some brand new remixes.
Freaks, a musical partnership between Luke Solomon and Justin Harris that's spanned twenty years and includes the Music For Freaks label, four albums, and an avalanche of singles on the likes of Playhouse and Hot Creations to Crosstown Rebels, News and International Deejay Gigolos. The album was released to rave reviews and featured a much awaited gathering of material from the late 00s onwards, including collaborations with Robert Owens, Stella Attar and Diz Washington.
This 12" includes interpretations from Dave Aju, Jamie 3:26 and Freaks.For over a decade, San Francisco innovator and a vital part of Circus Company, Dave Aju has been producing and performing his unique brand of electronic dance music, a consistently fresh and expressive sound.
His remix of 'Situations' makes no exception, a strong piece of jacking house music with bubbling sub bass, strong raw percussive beats, and an effective use of Diz' vocals and the flute sound. On the B Side 'Misfits' is reworked by Chicago's master Jamie 3:26 who turns the tune into an acid house monster and by Freaks themselves who extend their Original version for dance floor action. A strong package...and more to come !

Russia's Art Crime seemingly came out of nowhere with his first record and it blew us all away at Phonica. Lead track 'Release' was pure nineties house nostalgia, a huge reverbed piano over skipping drums that became an instant shop classic. We just couldn't get it out of our heads!

Needless to say we reached out to Art Crime instantly, hoping to lure another 12' of material from him and with the 'Obsession EP' we are blown away with the results. Art Crime has delivered another anthemic record, four tracks of melancholic house music, sounding both of the past and future.

The title track 'Obsession' is another massive piano laden House beauty, permeated with shim- mering synth stabs. Up next is 'Show Interest', with its almost-oriental synth melody glowing over a cold arpeggiated electro pulse. On the flip, 'Eye Contact's glacial pads and piano are followed by 'Rise Fall Run', the most restrained track of the set, an etheral journey through the clouds.

As with his first 12', Art Crime is behind the front cover artwork, with the reverse based on Jack Featherstone's layout for our previous release.

Let's focus on Ricardo Tobar: Born in Chile and now residing in France, Tobar picked the "creative border crossing" as the common thread for his album "Collection". Musical experimentation and crossing musical borders - Tobar refers here directly to the style and sound of the great new-wave-bands of the 80s and 90s. With the help and influence of their new electronic instruments (that often met classic rock guitars) the post-punk-electronic-movement turned almost everything upside down. No matter if the result was moody and mysterious or romantic and hedonistic, all sounded new and different back then and paved the musical path for a whole generation - the reverberations of that episode are noticeable until today.
Tobar plays with the musical approach of the post-punk-era, he mixes, merges and experiments fearless with styles and moods. He creates a wide range of "own styles" and even dives into abstract sound fields - listening electronic in best form! Ricardo Tobar breathes the air of his own musical universe and is not refering to the typical styles of this genre - you won't find any Detroit, Berlin or Sheffield reference here. Although produced in France, Tobar's album doesn't have anything of the sweet and lovely french listening touch. It also won't beam you into the north of England and the grey and cold Sheffield winter like so many other electronic albums try to do.
"Collection" contains full compositions, sound collages, experimental sounds and even proper beat based tunes. Tobar rather creates than produces and is presenting a bigger picture with his collection. Many electronic music artists are trying to do this however Tobar delivers a collection with an impressive range and it seems he did all this in an almost nonchalant way. He plays and combines his instruments and sounds at the same time very sensitive and harmonic but also brave and dissonant without risking to be inaudible at any point. He creates atmospheres by using electronic sounds and layers. Listening to the sound of "collection" almost appears like reading an acoustic book. This album is full of interesting sounds and ideas and is far from being boring or even too demanding.

Young East London producer Sam 'Palace' Walker has been part of DJ Haus's trusted inner circle for some time, having released on both Unknown 2 The Unknown and Hot Haus Records. Here he unreleased two more retro-futurist house gems - the kind of kaleidoscopic, rave-inspired tracks that evoke memories of early '90s pirate radio stations and illegal parties full of smiling dancers in bad long sleeve t-shirts. Choose between the bouncy stabs, hazy vocal cuts, bleep-era bass and snappy, cheap-sounding beats of "Codex", and "NRG", a piano-laden banger that makes great use of some familiar samples that were once a staple of breakbeat hardcore and bouncy house records. Oh, and the unmistakable rhythmic swing of UK garage.

Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of new material.
In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones—Cohen's cosmic "beeps and boops"—that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following from a retrospective LP trilogy released via Morphine in 2013. Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen—at the time largely unknown outside Philadelphia's experimental circuit—to critical renown.

Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by Tank Boys; cover art by Nathalie du Pasquier.

This is the story of C POWERS. To understand OYSTERS, you must understand the man behind it all...
THE UNITED STATES TERRITORY OF GUAM, ca. 1989
Abandoned at the island nation's only beachfront techno club as an infant, young Christoph (C POWERS) was adopted by the club's owner, Geraldo Powers. During Geraldo's time as a naval officer, he traveled the world throughout rave's formative years, secretly going to the underground parties when arriving to European ports after having originally fallen in love with early house music as a teenager in his native Chicago via roller-rink parties and the legendary Music Box headed by Ron Hardy. Rear Admiral Geraldo, outed as a gay homosexual during the discriminatory days of Ronald Reagan's U.S. military, was forced to retire, but spared a dishonorable discharge thanks to his roster of medals earning during his exemplary leadership for the invasion of Grenada in 1983.
Throughout his three year stay at the local naval base, the now 30-something Gerry Powers had been struck by the natural beauty and unsettling mysticism of Guam and its peoples and made the choice to permanently set up shop on the island after his unexpected retirement. Taking his partner and newly-crowned Supreme Butch Queen of the New York vogue circuit--Amadeus Lector--with him and financed with $6669.69 in prize money, the new era of DAS POUNDHAUS LTD. was to begin.
In 1990, Gerry founded the notorious Guamanian club DAS POUNDHAUS (the name of which was strongly influenced by a two-week long ecstasy and Polish speed-fueled bender during 1989's inaugural Love Parade in West Berlin). Located inside a decrepit lighthouse originally built during Spain's reign over the island, the club played host to a steady stream of closeted, Pacific-touring U.S. military personnel and later, the party-craving barons of the dot com bubble. Outed in private usenet circles for its off-the-charts hedonism, the club's infamous parties would inevitably lead to its perilous demise, and the eventual deportation of Gerry Powers and his family to the mainland.
But there was one thing that could never be taken away from them...
...synesthesia...
You see, young Christoph was diagnosed with the "disorder" as a pre-teen after having been exposed to nearly a decade of DAS POUNDHAUS first-hand and at such a young age. The youngster was like a fish in water during his childhood in Guam, but when the family was deported in 1999, he began to show signs of anxiety and depression. His ability to hear colors and see sounds had simply turned into a stream of incomprehensible, uncontrolled static. He was now a pariah among his peers. Shunned and admonished. Assigned to sit by himself during school lunch. One of "those" kids.
By this time, his two dads' relationship was on the rocks and would quickly unravel. Amadeus, frustrated with Gerry's incessant ramblings about bunkering in Montana because of the Clinton-Illuminati conspiracy to enslave the middle-class, decided to leave Gerry in an attempt to become a backup dancer for Madonna during her "Drowned World Tour" in 2001 (which would have provided a significant sum of financial security to the family, considering their life savings had been destroyed thanks to the toppling of the NASDAQ from its peak of 5048 in March of 2000--and thanks to those dot com baron stock tips, the Powers were all-in). However, Amadeus' unflinchingly "authentic" vogue style was considered obsolete, and he would go to die in a Reno Motel 6, a victim of drug abuse and that kind of thing apparently.
>>>>Fast-forward to the year2012ish>>>>

3 Shit hot tracks on MB's debut for Bio Rhythm... What can we say 'The Miracle Sign' hit us by surprise... Title track is a beautiful and epic journey in techno soul quite rare to hear these days, reminding a bit of early nineties Detroit/UK techno and even some of the early Speedy J works, all with nowadays production skills. Stunning contemporary techno the classic way. Then from heaven to hell with '60606', an evil distorted acidic drum track guaranteed to damage kids brains worldwide... But no time to think long anyway cause there's 'We Only Have', an autistic out-of-the-box jack track providing a sneaky tool for the more adventurous dj. This will separate the gurners from the dancers. Top-notch showcase by the unstoppable man-machine that is Marco Bernardi..!

Hailing from Berlin, but spiritually from Chi-town, Snuff Crew are back in your area with some freshly served up basement goodies once again. Following on from Basement Jams #1, from all the way back in 2011, the boys bring us tracks with the same playful nature as before but, dare I say it, they go even harder this time. Stalwart fans of the first release can stop reading now because it will almost certainly be a blind-buy for you; four tracks obviously engineered for use in the club, whether its the massive kick in 'What It Is' or the ravey acid lead in '88cents'. The jams on the B-side may do the most damage. 'Remember' holds absolutely nothing back, with its arpeggiated bassline lead and crisper than crisp 909 drum programming. Analog is a term that gets bandied about all the time nowadays, ever since so many young producers became enamoured with tape compression and hiss delay plug-ins. I know Snuff Crew are real analog guys though, in sound and mentality, so hearing Basement Jams #2 for the first time had me so excited once again.

Four years since they released Dring, Nôze are making a very welcome return to Circus Company with their fifth album Come With Us, and once again the pairing of Nicolas Sfintescu and Ezechiel Pailhes has yielded a collection of captivating and curious songs that could only come from the unique sound world they inhabit. As has been evident throughout their career from their early experimental house days through to the more recent song-based material for Get Physical, the Parisian duo have always moved on from album to album, maturing their sound to deliver a new experience for themselves and their listeners every time. On this occasion, Come With Us finds Nicolas and Ezechiel in a particularly introspective mood. Even as their work has naturally turned more to home-listening craft over the years, here they revel even more in personal reflection both musically and lyrically. Tracks such as Saint' conjure up the romanticism of dustbowl blues with its vagabond guitar tones (played by long time collaborator Thibault Frisoni), while Nicolas's voice reaches new distinctive heights in spellbinding tales like Apache". Emiliano Turi also lends a new sense of natural groove to the Nôze sound with his live drumming, and as ever, Nicolas and Ezechiel are keen to bring their friends into the fold for guest vocal spots. Dani Siciliano spars beautifully with Nicolas on the disco-inflected album opener I Need To Know". dOP vocalist JAW, fresh from his Midtown project, joins in for the bittersweet balladry of Come With Me".

Drum & Bass duo The Prototypes, AKA Chris Garvey and Nick White release their much anticipated debut album 'City of Gold' on Viper Recordings. Already one of the hottest acts in the UK Drum & Bass club scene, The Prototypes are reaching new heights with their debut LP which showcases their trademark club sound, vocal anthems plus a few masterful tempo variations which will leave the listener wanting more.

This vinyl album sampler contains two of their biggest hits from last year with 'Pale Blue Dot' backed with 'Humanoid', both of which went #1 on the Beatport D&B charts.

'Pale Blue Dot'
Kicking off with a mysterious, immersive space-themed introduction, 'Pale Blue Dot' transports the rave into the far reaches of the universe. Building up the anticipation with rising synths, 'Pale Blue Dot' transforms into a dancefloor weapon. Crash landing with a stripped back, infectious melody and churning bass, the alien sounds of 'Pale Blue Dot' are sure to get the rave moving.

'Humanoid'
The B-side stays true to The Prototypes' heavy hitting, galactic-inspired sound, with the whirring 'Humanoid'. Exciting and rhythmical use of synth patterns alongside vocal interjections make this the ideal follow up to the hugely popular 'Pale Blue Dot.'

With Record Store Day upon us once again, Quantize Recordings felt it only right to unleash a killer EP to the World boasting exclusive edits from 2 of the biggest names of the scene - Danny Krivit & John Morales.

Danny's edit of 'Is It Love' is taken from the recent Quantize Quintessential CD release (also mixed & compiled by Danny Krivit), as you'd expect it's lovingly crafted and receiving some serious rotation from the industry A listers.

On the flip the monumental DJ Spen & Gary Hudgins's remix of Melissa B 'Be Free' finally (and due to much demand) gets an exclusive vinyl airing, whilst John Morales delivers a stunning disco reworked remix of Sheila Ford's 'The Best of My Love'. Limited edition pressing on Royal Blue vinyl!

Six years on from his debut album on Cadenza, Swiss DJ/producer Mirko Loko comes with the follow up to 2009's 'Seventynine' as he catapults us into the techno and electronica galaxy with 'Comet Plan'. 'Un voyage entre toute mes influences,' Mirko Loko shares, breaking into his mother tongue to describe the essence of his sophomore longplayer that was conceived in Berlin and later birthed in his hometown of Lausanne after a two-year gestation period. Literally translated as 'to travel between my influences', it's a fitting summation of an artist whose work has respectfully mined early inspiration from Detroit and Chicago that laid the foundations of the emotion-filled productions that we know of him from today. In addition to this, Mirko sees his connection with Luciano's Cadenza Music, a relationship that's been in existence since dot one and saw the likes of Ricardo Villalobos, Melchoir, Pedro and Rahdoo make up one of the most innovative crews in dance music, as leaving an indelible imprint on his musical DNA to this day. It's Mirko's strong sense of musical identity that is at the core of 'Comet Plan', a work that's equally informed by the artist's spiritual connection with the Motor City as his halcyon Cadenza roots. And one thing's for sure; he knows how to captivate: take 'Venus' whose trickles of melody and syncopated drum rhythms increases in intensity with each bar towards an eerie crescendo. Then there's 'U Special' that builds the kind of subtle party vibes you could imagine Luciano dropping to create one of those moments to a heaving blissed out dancefloor. 'Kolor' - the album's early single (also remixed by Carl Craig as part of an excellent EP package) is sprinkled with a dusting of xylophones, chimes and other bells as the melody is driven forward for a heady trip across the electronic galaxy.

Another Various Artists special from the mighty Bokhari camp...

Two fresh tracks from the Lord Lucan-esque disappearing Russian, Kirill Tipo, whom we've been chasing since 2012!

Creta Kano on the flip gives us a slice of electro that sounds like it could have been made in 1988, with a bassline that'll be in your head for days. Still high from the Scott Grooves props of his last venture with Bokhari, Joe Europe returns with another slice of deepness for those who like some musical content in their house !

Butane's Alphahouse imprint kicks off 2015 with Pablo Inzunza's 'Convenience' EP, featuring three original cuts from the Chilean artist and a remix from the label-founder himself.

Pablo Inzunza is a Chilean DJ and producer most notably known for his recent long player on Butane & Someone Else's Little Helpers imprint, but also acknowledged for material on Germany's Highgrade, and French imprint Monique Musique. Inzunza has explored an array of organic and abstract Techno styles across the early stages of his career and here we see him push on with more powerful dance floor focused cuts via the Alphahouse imprint.

The original mix of title cut 'Convenience' opens things up here and sees Inzunza employ a hypnotic 303 hook as the driving force, while ghostly synth textures flutter away in the depths of the composition and sparse rhythms further fuel its undulating groove. 'Hypnotica' follows and as the name would suggest lays its focus on an entrancing, percussion and pad-led groove, which subtly unfolds over its five and a half minute duration.

Opening up the flip side of the release label-head Butane offers up a tougher, heads down take on 'Convenience', treating us to his typically rough and ready production style with gritty drum lines laid over the original's squelchy 303 lick. Then finally to round things off we have the third and final original from Pablo entitled 'Intimate', which takes on a more house tinged aesthetic this time with organic percussion, sweeping synth stabs and stuttering bass tones.

Serious heat alert! Ridiculously rare sun drenched funky Soul from the mythical Raw Soul Express....

"The Way We Live" is as flawless as it gets, a superior piece of sweet Soul music from all the way down there in Miami, ultra sought after in it's original 45 issue & featuring some absolutely stellar production from the underrated George "Chocolate" Perry this record is an instant party starter! Featured on the mix-tapes & in the play-lists of some of the most discerning crate digging DJ's out there & an OG 45 will literally cost you an arm & a leg ($600 plus) this total gem of a record gets an overdue repress in it's original form. Essential!

Backed here with it's original b-side slow jam "This Thing Called Music" this ultra-rare 45 has been re-mastered, re-pressed & brought back for 2015's dance-floors in conjunction & with the permission of T.K. Disco / Henry Stone Music, Miami USA.

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

2LP Neuauflage

Juan Sanchez delivers his first single on the raw sounding Drumcode Limited with two monster sounding tracks.

Both tracks represent the gritty, tough side of the Drumcode spectrum and deliver two peak time tracks that will finish a dancefloor off. Using filtering hats, low end rumbles and outlandish beeps, Juan Sanchez encapsulates the sound of Drumcode Limited.

PLEASURE ZONE presents Ali Nasser and his first artist album called "All we need! Ali was part of PLEASURE ZONE from the very beginning. We're very proud and happy about this great album!

Wrong Steps is back!

Following on from his outstanding debut last Autumn, the talented Berlin based artist, delivers a lovely selection of melodic musical melters.

It's a bit daft describing something as 'musical', but in this instance, we challenge you to defy us.

2015 sees the return of Welsh psychedelicists White Noise Sound with their second album 'Like a Pyramid of Fire'.After honing their craft across the UK and through Europe - with the likes of Super Furry Animals, The Warlocks, Spectrum, Mark Gardener (Ride) and members of Spacemen 3, Spiritualized and The Brian Jonestown Massacre - WNS completed their debut album in 2010 with the assistance of Pete Kember (Spacemen 3 / Spectrum / E.A.R) and magician Cian Ciaran (Super Furry Animals). Released by cult California based label Alive Records (whose back-catalogue includes releases from The Black Keys, Beachwood Sparks, Iggy Pop and James Williamson and The Soledad Brothers) in 2010 (US) / 2011 (UK), the eponymous debut was greeted with widespread critical acclaim and WNS toured through Europe in its support. 'Like a Pyramid of Fire' sees the band take their trademark wall of sound - at once relentlessly pulsating and blissed-out - and conjure from it a sonic palette with range and depth. WNS worked closely with producer / DJ Phil Kieran and again with Cian Ciaran and the result is a metronomic and hypnotic onslaught of melody, groove and exploration which goes beyond the standard tropes of psychedelia.

White Noise Sound will be playing a special London show as part of the Convergence Festival on Monday 16th March 2005 (with label mates Eat Lights Become Lights and guest DJs Andrew Weatherall and Ben Osborne)

Given its short gestation, it is striking how far removed the new album is from its predecessor . After the dark complexity of recent output, Same As You is startlingly fresh, as inclusive and accessible as the title suggests, while still maintaining the playful experimentation on which the band has made its name.

Originally conceived as a single longform piece, the tempo remains constant but does not prevent the band from producing swells of raw, joyous, life-affirming energy within these self-imposed limits

The vocal performances and the heartfelt, spiritual lyrics are an inspired addition to the rich instrumental mix: Pete Wareham and Mark Lockheart (tenor sax), Tom Herbert (double bass) and Leafcutter John (guitar, electronics), with Shabaka Hutchings (Sons Of Kemet, Melt Yourself Down) making a guest appearance.

The album's lead single 'Dont Let The Feeling Go' sees Rochford take on vocal duties alongside a choir of friends and collaborators: it's Polar Bear at their most direct.

The use of vocals may catch the ear but that should come as no surprise given that Rochford has enjoyed working with singers as diverse as Beck, Spoek Mathambo, Paolo Nutini and Rokia Traoré over a 15 year career that has seen the drummer, composer and producer emerge as a pivotal figure in contemporary British music

Recorded by Rochford in London, and mixed in the Mojave Desert with Ken Barrientos late last year

Polar Bear will tour Europe from February (see confirmed dates below)

Jacktone Records is pleased to announce our third release: Two dark techno tracks from Oakland's Worker/parasite. J usta909 and S quirm are reverb-soaked four-on-the-floor odysseys of mutating factory noise and gritty analog textures. The release also features remixes from F UNERALS and label co-founder, Dr. Sleep

hile it may seem as though it's been a quiet year in the studio for Brooklyn-based DJ/Producer Greg Schappert (aka Donor), his first full-length album entitled Against All on Chicago-based Prosthetic Pressings, will prove otherwise.

This 10-track release is a tour de force of formidable intensity and suspense and Donor wastes no time creating an ethereal realm right from the start. By taking a deep dive into a dystopian world full of distant transmission like voices, expressed through field recordings taken in and around New York City, Donor successfully paints a picture of what could be his unsettling vision of the future. While it may be difficult to explain how this album progresses throughout, there is something below the surface tying everything together, leaving us with a feeling of despair in that the world does not end how it is likely to be perceived through this beautiful or haunting, yet sophisticated, soundtrack. Alien invasions, civil war, post apocalyptic mayhem, call it what you will, Donor sets the stage for an unsettling vision of the not so distant future that can be heard in his thought provoking debut LP.

Donor's time spent overseas living in countries like Spain and Japan, his love for Birmingham Industrial Techno and early Dutch and Detroit Electro, combined with his upbringing on John Carpenter films, have all contributed to Donor creating his unique, yet recognizable sound.
Feedback:
Audio Injection / Droid Recordings
Yeah my boy Greg getting down! Great album!!
Leonard Posso / Thema
Hands down one of the best bodies of work to date from Greg aka Donor! SOLID PACKAGE! Many of these will get played throughout the night! Big Ups Donor and PP!
Vidal / Droid Recordings
nice sounds
Ergin Karabulut / FAZE Magazin
ok
DJ Nori / Posivision
cool dark essence.
Paul Clarke / Dj Mag
Not exactly heartwarming but lots of good stuff if you like it bleak.....
Mark EG / Core Magazine, Tilllate Magazine
IP Test
Nerk / V-Records / De:Bug
dark & minimal (in a good way)
Exberliner
!
Frank Hilpert / Freshguide (5x Regional A5 Mag) , Freshguide BLN, Freshguide MDL, erwischt.org/
Big - Review to follow.
Berlin Mitte Institut / Berlin Mitte Institut
More IDM than techno. Some interesting tracks on this album.
David Marcia / Phuturelabs, Phuturelabs
Good stuff. Considering for review and radio play.
Bleed / De:Bug
considering for review
Benoît Carretier / Tsugi
solid one tx
Pawel Gzyl / Nowamuzyk
killer1
Laurent Diouf / MCD magazine / WTM radio show
another wtm's playlist is coming soon...;)
Alland Byallo / Nightlight Music, Bad Animal, Pokerflat
Fantastic album. Deep, dark, nasty. Pure mood (and some seriously heavy BOOM).
Solomun
Hello, i am downloading and pre checking all promos for Solomun. I will give you a personal feedback if he plays and supports this release. Thanks a lot and have a great day.
Solenoid / Graphene / Belief System
wikked album of deep ritualistic techno ...
Electric Indigo
cool tracks here. station a14, ip test and own exile are my favorites after first listen. thank you!
Corin Arnold / BLN FM
sounding good, support!
RADIO CAMPUS BESANCON / THE VINYL GUERILLA
not really for me ... DJ Gaogao
Riyaz Khan / Diversions on chry105.5fm
like the shifting tensions and brooding atmospheres throughout!
Fabian Birke / WOMR College Radio / BLN.FM
For radio play, thanks
Andrew Grant (Circo Loco)
Own Excile is very good
Slam / Soma Records
cool album thanx
Sebastian Roya (Connaisseur)
Bomb! nice job!
Matthias Springer / Diametral / Chillkyway
great release, brainsqueezing!
DJ Hyperactive
good tune on here man
Patrick Bateman (Tic Tac Toe / Connect Four)
Hands On, Calling, Menace Is Mine & In Your Place are the ones for me. As always full quality from Donor!
Jonas Kopp / Curle, Deeply Rooted House
Will check properly , thanks.
HalfStereo
Dark moods is what i like...
Angel Molina ( Sonar / Tresor )
LOVE this dark & hypnotic release. Tracks like 'Menace Is Mine', 'Station A14', 'Counter' or 'Fault Is Found' are absolutely fantastic. thanks!!!
Scuba (Hotflush)
thanks. downloading for scuba!
Bryan Zentz / Minus / Thoughtless / Portlandia
I am miserably late on this—but really like it on quick listen. In Your Place and Us For Them are awesome. Looking forward to listening all the way through. Thanks!
Pär Grindvik / Little White Earbuds
thanks
Dr Hoffmann / Blind Spot
Great release, digging most of the tunes. thanks
Philip Downey / Swoon / pastlessonfuturetheories blog
Like Calling, IP Test, Us for Thenm, Fault, could try some on radio.
Tim Thaler / Bln.fm
downloading
Lukasz (Nermal) Napora / Audioriver Festival, Radio 4 Poland
great stuff. eager to listen to it from wavs
Vito Camaretta / Chain D.L.K
Interesting sonorities
Noah Pred / Thoughtless Music
Stark business worthy of a deeper listen.
2000 And One (100% Pure, Intacto) / 100% Pure
Oh yes perfect intermezzo stuff :)
Alexi Delano / AD ltd, Plus 8
Will have a proper listen.
Echologist (Steadfast) / Third Ear, Echocord
really liking this. fresh beats and trippy hypnotic vibes. look forward to spending time with this.
john1 / Bedrock
downloading
James Zabiela / Renaissance
In Your Place is nice in a bleak way.
Marcel Dettmann / MDR, Ostgut Ton
thx
Richie Hawtin / Minus, Richie Hawtin
downloaded for r hawtin
The Advent / Tresor
fantastic.. pure techno here.. Donor - Station A14 Donor - IP Test
Andrew Weatherhall / Rotters Golf Club
Downloading obo Andrew Weatherall
Noice Podcast Series
very nice Techno...
Samuli Kemppi / Prologue
Great album. Donor in top shape. Full support!
Lee Holman
Good album of deep dark sounds. Especially like Station A14. Thank you!
Benna Schneider / Harry Klein
some nice tunes here ,that I´ll play out surely
Douglas Fugazi / Medellinstyle
Yeah! Sounds really good. Thanks!
Plastic Lounge @ Freies Radio Freudenstadt
good tecno,playing
Kyle Geiger / Drumcode
Really like Space Station!
Paul Ritch
thx a lot for the promo
Dave Angel / Apollo, Rotation Records, Polydor/Love, OuterRythum, React Records, Island
Thanks! Will let you know if supporting.
Luciano Esse / Safari Electronique, Out-Er, Leftroom, Material Series
Great sounds, but I couldn't use them in set! Thanks anyway!
Arnaud Le Texier / Affin, Bass Culture, Cocoon, Children Of Tomorrow, Syncrophone.
Some inspiring tracks on this album! Thx
Henning Lösch / Radio Dreyeckland Freiburg
last exit Brooklyn...:-)
Roko (Sub.fm/B.O.M.B.)
OH shit this is good!!
Sigha / Immerse / Hotflush / Avian
loving this, many thanks
Jerzy Przezdziecki / Recognition Records, Boshke Beats Records
raw and mental. i like.
Alex Tolstey / Triangle Eyes/Boshke Beats Records
ho ho! review to follow
Alan Fitzpatrick
epic! love this.!

Hot off the back of the their successful inaugural release from Quenum & Cesare vs Disorder, the young Barcelona label continues to drive forward with their mission to move people by drawing from an expansive and expressive universe of melodic and rhythmic sounds. The result of this is a carefully curated, limited edition of vinyl and digital releases, and next in line is a brand new EP from Russian producer and DJ, Tripmastaz. Andrew Guyvoronsky (aka Tripmastaz) is the one of a few underground producers from Russia to make serious tidal waves in the dance community gaining world-wide recognition and respect from fans, media and DJs alike. On top of his tracks being featured in a variety of famous compilations such as Fabric and DJ-Kicks, Tripmastaz has been focused on a busy touring schedule and on making Russia decidedly more funky for the past 10 years. This new EP melds the stripped back with the downright, dirty bass bombs synonymous with Tripmastaz's style. Title track 'Ain't Made 4 U' is a swirling house-funk journey that is built to move bodies across floors. 'Live from the Basement' takes things back a little with a more minimal approach to percussive techno then Christian Burkhardt & Andre Buljat's remix of EP opener slams us back to the heady, peak-time dance floor, before HITCH closes out the EP with his rolling and hypnotic take on the A-side. Good taste will always prevail.



[C] B1 | Ain't Made 4 U (Christian Burkhardt & Andre Buljat remix)

Beyond Time is the first album by acclaimed experimental group 23 Skidoo in fifteen years, released in a special double disc edition combining the soundtrack music to 2011 documentary film Beyond Time, and a DVD of the film itself.
Directed by Alex Turnbull and Pete Stern, Beyond Time is a journey into the life and work of artist William Turnbull, from his modest roots as the son of a Dundee shipyard engineer to his standing as one of the world's most highly regarded modern sculptors. Narration is by Jude Law. 'An insightful, irreverent documentary, yet with a palpable sense of purpose' said the Daily Telegraph, with the Guardian confirming that'William Turnbull helped change the way we see art today.'
The soundtrack music is performed by 23 Skidoo. Formed in 1979 as industrial, post-punk and funk genres coalesced, the group included Bill Turnbull's sons Alex and Jonny together with Fritz Catlin and Peter 'Sketch' Martin. As well as new music, the accomplished score features re-worked versions of older material. 'Johnny and I thought 23 Skidoo's anti-commercial tendencies came from a punk sensibility,' explains Alex. 'But it turns out we had a genetic predisposition to anti-establishment practices. Bill was a polymath at a time when that was a dirty word, shifting between sculpture and painting and putting both in a symbiotic relationship. Now crossing boundaries is everywhere: think of hip-hop. The name of the band referenced a William Burroughs short story. Burroughs used, as we did, cut-up techniques, collaging and sampling. We were oblivious to the fact that a lot of that aesthetic was in what Bill did until I made the film.'
Both the CD and vinyl versions of Beyond Time include a Region 0 NTSC format DVD of the documentary film (with bonus features), but feature different artwork. The CD/DVD package features a portrait of Bill by photographer Ida Carr, while the vinyl/DVD version features a detail from 05 by William Turnbull (oil on canvas, 1959) printed on matt reverse board.

The latest chapter in the unfolding story of Chronicle finds the New York techno label reaching out to Japan once again, calling upon the considerable talents of Hironori Takahashi to deliver a nerve -shredding manifest on cinematic scope and malicious intent in the darker corners of contemporary techno. Takahashi has previously shared his vision for malevolent dancefloor crushers on such highly regarded labels as Semantica and Stroboscopic Artefacts, not to mention holding down a job at the world-renowned Disk Union record shop in Tokyo.

Proceedings start somewhat inviting on EVENT0009, as the warm, dub-inflected chords of 'Ariast' drift through the stout rhythmic throwdown with orchestral grace. There is of course plenty of space left for brooding, uncertain elements underneath this melodic calm, but it's still a positively mellow offering compared to the jackhammer drum damage of 'Dazre' with its monstrous industrial intent and soaring sound design.

'Cecilleatis' is a more patient beast that simmers its tough ingredients into a predatory whole, using atmospheric pressure instead of sheer volume to create the required intensity. It's not all steel furnace fury though, as the track comes equipped with an epilogue that cools the fires of the EP with some glacial tones and distant machine bleeps that continue Chronicle's commitment to showcasing different sides of their chosen artists.

Supporting Jesus & Marychain in Cardiff on 22nd February.2015 sees the return of Welsh psychedelicists White Noise Sound. This single is taken from their second album 'Like a Pyramid of Fire' out in April 2015.After honing their craft across the UK and through Europe - with the likes of Super Furry Animals, The Warlocks, Spectrum, Mark Gardener (Ride) and members of Spacemen 3, Spiritualized and The Brian Jonestown Massacre - WNS completed their debut album in 2010 with the assistance of Pete Kember (Spacemen 3 / Spectrum / E.A.R) and magician Cian Ciaran (Super Furry Animals). Released by cult California based label Alive Records (whose back-catalogue includes releases from The Black Keys, Beachwood Sparks, Iggy Pop and James Williamson and The Soledad Brothers) in 2010 (US) / 2011 (UK), the eponymous debut was greeted with widespread critical acclaim and WNS toured through Europe in its support. 'Like a Pyramid of Fire' sees the band take their trademark wall of sound - at once relentlessly pulsating and blissed-out - and conjure from it a sonic palette with range and depth. WNS worked closely with producer / DJ Phil Kieran and again with Cian Ciaran and the result is a metronomic and hypnotic onslaught of melody, groove and exploration which goes beyond the standard tropes of psychedelia.
White Noise Sound will be playing a special London show as part of the Convergence Festival on Monday 16th March 2005 (with label mates Eat Lights Become Lights and guest DJs Andrew Weatherall and Ben Osborne)

Inspired by the success of last summer's retrospective on Poker Flat, Steve Bug takes up his Traffic Signs moniker once more for a fabulous jam that more than merits the 10-year wait. The uncredited tunes that first came out under this name were classic jack tracks that devastated dancefloors - and 'Cookie Jar' is a more than worthy successor. This is stripped-down house, Chicago-esque, direct and determined to make you move. Berlin legend Jake The Rapper adds downright dirty humour with a spoken vocal fit for an age of internet sextapes and celebrity photo hacking. 'I like what you're cookin. Those cookies smell goooood,' he rascalously declares. Three mixes sprinkle the musical equivalent of chocolate chips, pecans and Brazilian stardust over the original. Steve Bug makes fine adjustments for the club, bouncing around the kick drums and doubling the synth riff with strings, while Joyce Muniz's dark, strobing treatment adds a dirty bass line for sexy, sweat-drenched dancefloors everywhere. Stripping away the vocal on the dub, Muniz's production talents are all the more scintillating, irresistibly kinetic from beginning to end. The brilliant video for 'Cookie Jar' has been created by swiss-french duo Ben & Julia, who let us take part in their playful, colorful and surreal world that suits the song so well.

LP version comes with free download card.

Radio support from Benji B & B Traits (BBC Radio 1), Nemone (BBC 6 Music), . DJ support from Ben UFO, Joy Orbison, Caribou, Tessela, Mosca, Kowton, Ron Morelli, Bok Bok

Print features confirmed in Groove, Beat Mag, Faze (DE), Tsugi (FR), DJ Mag (IT), Volkskrant (NL), The Gap (Austria)

Print reviews confirmed in Mixmag, The Wire, Crack, DJ Mag, Uncut (UK), Blow Up, Rumore, Rockerilla (IT), Irish Times (IE), Musikexpress, Doppelpunkt, Westzeit (DE), Exclaim (CA)

Online features / premieres: The Fader, NPR, XLR8r (USA), The Quietus, Dummy (UK), Wasabeat (JP),

Hessle Audio are excited to announce the release of the self-titled debut album by Pearson Sound, aka label co-head David Kennedy. Characteristically minimalist in approach, its nine tracks use a handful of elements to craft mesmerising, self-contained worlds, alive with motion and near-subliminal detail: from vast and inky landscapes, to electrifying rhythm tracks, where layers of percussion and bass tumble over one another like rocks in a landslide. Recorded between 2013-4, Pearson Sound documents a distinct phase of Kennedy's studio explorations. "I had a signal chain set up that I was really happy with, and I started sending my machines through the same processes" he says. Expanding upon the techniques underpinning his recent REM and Starburst 12"s, its tracks emerged swiftly through improvised jam sessions, some were captured in a minimum of takes, while others later took shape through extensive sculpting and post-processing. "A lot of it was made by feeding the the same sounds between two different pieces of equipment and they'd end up feeding back between each other and snowballing. On some tracks it's about harnessing that and taking it to the brink before it disintegrates, and some of them are about just letting it go full-blown out of control." The result is a record of striking contrasts: bold, stark and visceral, yet also subtle, harmonically complex and deceptively playful. While Pearson Sound's livewire percussive energy remains inextricably rooted in the club, this exploratory studio process has created Kennedy's most wide-ranging yet coherent body of work to date: a suite of thrillingly impulsive, expressive and open-ended music, untethered from restrictions of form.

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

Requiem for a dreamstate. It's possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins' world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he's gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar's 'Hold Me Down'. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute 'Requiem For The Static King Part I'. Sigur Ros offshoot Jónsi & Alex's heroic 'Daniell In The Sea' sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling 'Yr Love' by Holy Other or the pair of Black Country acts Bibio and Letherette, whose 'After Dawn' is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane's wistful 'Lady Divine' or even Four Tet's mesmerising 'Gillie Amma I Love You', with its enchanting kids' choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer's 'I Remember'.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

Rare and highly sought after in its original format, Os Brazoes self-titled album was originally released on RGE Discos in 1969. It is a psychedelic masterpiece that fuses samba, r'n'b and rock 'n' roll influences using fuzz guitars, synths, percussion, lush vocals and effects.

Os Brazoes formed in Rio de Janeiro in the late 1960's. They backed Gal Costa during her Tropicalia period, yet apparently never recorded in the studio with her. Miguel de Deus, the bands front man, recorded the highly sought after 'Black Soul Brothers' LP in 1977, which became an important record in the 'Black Rio' movement. Mr Bongo released the title track from that LP, on the 'Brazilian Beats: Brooklyn' compilation in 2006 and recently as part of their Brazil 45's re-issue series.

'Os Brazoes' features covers of Gilberto Gil's 'Pega a Voga, Cabeludo' and Jorge Ben and Toquinho's 'Carolina, Carol Bela'


The Mr Bongo LP reissue is manufactured in Japan, presented in a super high quality card sleeve with replica original artwork. The CD is presented in a 4-page digi-pack.

Riding on the back of a surge of interest in De La Club, the debut LP from Hold Youth, comes a smartly picked repress of House don Nail. While the duo is known for their eclectic vision of dance music, the first repress on the label I've Been There EP is in fact an exemplary example of straight-up, no-fuss House. Enjoying a modest comeback of late both as a producer and DJ, Nail originally released Full of Beestone Promise EP on DIY Discs in '97. The stronger two of the four tracks will be repressed one on each side, 'Our Love' and 'I've Been There', distinctive for its melodic vocal and recent inclusion in the Apollonia fabric 70 compilation.

While we have become accustomed to Hold Youth's diversification of sounds with the current LP, I've Been There reminds us that a pigeon-holable classic can be highly refreshing.

This one is a taste of things to come from the ClekClekBoom camp, a ready to use 'Various Cuts' EP made by deejays for deejays.
A solid wax with different weapons including already known CCB producers and extended family. For this first volume, French Fries teams up with NSDOS on a hypnotic jam, bringing Chicago's percussive legacy in a 90's NYC ballroom. Then we got Aleqs Notal going deep with a new batch of his lunar material where tripping synths meet spaced out hi-hats. On the flip Jean Nipon provides his drummer background to display some infectious rhythms colliding with a shuffling syncopated bass, while Barbara Ford takes us through a heavy mesmerizing acid jam tunnel... Overall a deep and yet club-material experience representing perfectly what ClekClekBoom has to offer today.