Search:ab

States Of Bliss’ is the next album by Fred P, his third full length in the last year, following ‘Oasis’ and ‘Abstract Soul’ and the most expansive of the three. Produced on the move in hotels and airports, as well as Fred's studio in Berlin, ‘States Of Bliss’ is described by Fred as “a collection of musical imaginations that truly inspire one to actions of positivity and balance, incorporating a range of emotive moods to create an environment for expansion within a sonic structure.”

Within the two parts States Of Bliss becomes a musical landscape spanning dance floor grooves such as ‘In The Flow’ with a vocal sample by Cassy, to the psychedelic acid jazz of ‘Live Your way’ moving into the meditative ambient goodness of ‘Awakening Desire’. There’s also the jazz track ‘NY’ recorded in 2012 that was remixed for the legendary "Selected" compilation. Not leaving any realm unnoticed, ‘River’ is a sought after soundscape and ‘Elevated States’ see’s Fred delves into trippy electronica. In the club or listening at home, Fred’s music makes perfect sense on either side.

Originally recorded by D-Train, some might say this is one of the most important post disco records from the 1980’s, which appeared on the legendary Prelude records originally. What makes this version particularly special, is the fact it features another important artist from the post disco era Colonel Abrams, who is most famous for his cult classics ‘Trapped’ and ‘I’m Not Gonna Lie’ which both topped the charts in the mid 80’s. Aussie disco lord Dr Packer, who is currently on tour across Europe teams up with newcomer Sonic Soul Orchestra, who flip this into a fresh disco house cut that includes all new instrumentation whilst respecting the smooth vocal stylings of the Colonel. Plus remixes from Ross Couch, & Ricky Morrison (M&S).

Early DJ Support:
Jamie Jones, Mark Knight, Michael Gray, Roger Sanchez.

There was a time when a person would pick up an instrument to compose yet another song for a loved one. A sad figure humming into a microphone, pronouncing the most basic words and forms to convey quantity, quality, fact, statistics and similar sounds describing pain, loss and sorrow. The human brain would perceive the melody sad and perhaps within herself feel a sense of melancholia.

In another parallel world a new composition would then appear. But not one composed on a wooden built instrument, no, sounds made into structures and tables that would assists the listener into providing an additional context and meaning through digital synthesis and quantised harmonies. But who could really tell if these sounds were real? Or where they just sounds impersonating an idea of something?

Rhyme nor reason is as abstract in its shapes and ideas as it is concrete and elegant in its narratives. A carefully crafted wooden cabinet with an over-whelming amount of different drawers and hidden compartments. Each box storing blissful arrangement; a fluorescent stone, a paper note saying something about lunch, some collectible objects, a forgotten token or perhaps an autograph, all so very vibrant and joyful for its possessor.

Deleted files stored on rapidly rotating platters coated with magnetic material. Small, easy to loose SSD memory cards of recorded corrupt files and digital artefacts. Software engineered compositions trying to grasp the shared belief of an upcoming future, vivid and uncertain; birds, waters and long lost recollections. A release unconcerned with the literal depiction of things from the visible world. At least not for now.

2022 Repress

Absolutely summer vibes! Cosenza present four dancefloor tracks with classic riffs. Must have.

All Eyez on Me is the fourth studio album by 2Pac and the last to be released during his lifetime. Released on 13th February, 1996, by Death Row and Interscope Records, the album features guest appearances from Dr. Dre, Snoop Doggy Dogg, Redman, Method Man, Nate Dogg, Kurupt, Daz Dillinger, E-40, K-Ci & JoJo, and the Outlawz, among others.

The album features productions by Shakur alongside a variety of producers including DJ Quik, Johnny “J”, Dr. Dre, DJ Bobcat, Dat Nigga Daz, DJ Pooh, DeVante Swing, among others.

The album includes the number-one singles “How Do U Want It” (featuring K-Ci and JoJo) and “California Love” (with Dr. Dre, featuring Roger Troutman) and the hip-hop ballad “I Ain’t Mad at Cha”, along with the Snoop Dogg collaboration “2 of Amerikaz Most Wanted” as a promotional single. It featured four singles in all, the most of any of Shakur’s albums. Moreover, All Eyez on Me made history as the first ever double-full-length hip-hop solo studio album released for mass consumption globally.

All Eyez on Me was the second album by 2Pac to chart at number one on both the Top R&B/Hip-Hop Albums charts, selling 566,000 copies in the first week.

Upon release, All Eyez on Me received instant critical acclaim, and it has been ranked by critics as one of the greatest hip hop albums, as well as one of the greatest albums of all time. In 2020 the album was ranked 436th on Rolling Stone‘s updated list of the 500 Greatest Albums of All Time.

'A Winged Victory For The Sullen' is the first installment of the new collaboration between Stars Of The Lid member Adam Wiltzie and L.A. composer Dustin O'Halloran. The duo agreed to leave the comfort zone of their home studios and develop the recordings with the help of large acoustic spaces, hunting down a selection of 9ft grand pianos that had the ability to deliver extreme sonic low end.

Other traditional instrumentation was used including string quartet, French horn, and bassoon, but always juxtaposed is the sound of drifting guitar washed melodies. The recordings began with one late night session in the famed Grunewald Church in Berlin on a 1950's imperial B?sendorfer piano and strings were added in the historic East Berlin DDR radio studios along the River Spree. One last session on a handmade Fazioli piano in a private studio on the Northern cusp of Italy, before the final mixes took place in a 17th century villa near Ferrara with the assistance of Francesco Donadello. All songs were then processed completely analogue straight to magnetic tape.

Their secret to harvesting new melodic structures from the thin air of existence was for the duo to push themselves to dangerous territory, realising that clear thinking at the wrong moment could stifle the compositions. The final result is seven landscapes of harmonic ingemination. In 'Requiem For The Static King Part One' ? created in memory of the untimely passing of Mark Linkous ? they have taken the age-old idea of a string quartet and then shot it out of a cannon to reveal exquisite new levels of sonic bliss.

Of the 13 minute track 'Symphony Path?tique', Wiltzie says 'after almost 20 years of struggling to create interesting ambient drone music, I feel like I have finally figured out what I am doing'. Notable guest musicians include Icelandic cellist Hildur Gudnadottir, as well as Erased Tapes label comrade Peter Broderick on violin. A Winged Victory For The Sullen is not a side project ? it is the future of the late night record you have always dreamed of. A Major release for Forte, Non exportable.

Dynamite Cuts is proud to be able to press, for the first time on 7” vinyl; the superb, original, Brit-Funk cut, taken from the rare and highly collectable 1977 self-entitled album FBI. Our A side, “Keep on Running”, is an uplifting vocal groove written by Mr. Stevie Wonder, delivered by F.B.I. Awesome: a heavy so groove, driving vocals, and a funky clav groove makes this a perfect vibe and an essential track.
On the flip is our part two version, a breakdown from the original master tape, giving a moving and up-tempo feel; a supreme funky instrumental cut, edited. Heavy groove, including a massive DJ drum break.

Rich Aucoin is announcing his next album entitled Synthetic - The record is a rare Quadruple Album with its 4 seasons/LPs being staggered in 6 month intervals over the next 2 years

The album, which began at The National Music Centre in Calgary, Alberta in March 2020, houses one of the world's most extensive collections of rare and historic synthesizers. There, Aucoin was doing the Artist In Residence program and recorded 51 synthesizers to begin the project. The project was paused with the start of the pandemic and Aucoin shifted back into film scoring and worked
on the critically- acclaimed and short- listed New Yorker - Films of the Year documentary, No Ordinary Man, about the trans- masculine jazz musician Billy Tipton.This record is a good demonstration of Aucoin's scoring potential as well as it's a quadruple instrumental album; a huge contrast to United States, Aucoin's previous, and most vocal heavy album to date. Lyrics just take me so long to write that I just want to take a couple years to make other kinds of albums before going back to lyrical music as I can write instrumental music much faster. This first fulllength features Aucoin as the solo musician playing some 37 synthesizers including: Arp 2600s, the Supertramp owned Elka Rhapsody 610 String Machine, Formanta Polivoks, Novatron T550, Oxford Synthesizer Company Oscar, Selmer Clavioline CM 8 and the legendary TONTO which the first release off the record
was made on.

Tracks: Tonto / Hypernormalization / Algorithm / Future / Buchla / Esc / 456 /
Space Western / Return

Mesmerizing new abartik from one of the most talented swiss based artists. Abartik welcomes homeboy Aron for a stunning 4 track EP from outer space. This is definitely one for the books.

Crossroads explores the mysterious terrains of contemporary deep minimal techno with the Feral's distinct and inimitable tribal sound.

Early support from Abstract Division, Brando Lupi, Svreca, Cassegrain, and Ness to name a few.

If the ideal greatest hits collection captures the fundamental truth about an artist, Eric Kupper’s – 'A Lifetime In Dance Music' highlights an envious catalogue, extraordinary production skills and ultimately reveals a passionate maven of house music.

The 24-track compilation celebrates the vast work and revered career of Eric Kupper and is a collectable occasion to re-acknowledge his influence and golden touch as a remixer for over five decades.

Within this first volume you’ll find signature and standout remixes for all-time greats such as Diana Ross, Depeche Mode and Degrees of Motion alongside Kupper classics both new and old under his own name and the legendary K-Scope alias.

'A Lifetime In Dance Music' will be available across three separate vinyl and digital release packages including a full collectors CD release in 2023.

Emblematic of an iconic nightlife and reflecting on the sheer scale of his work for seminal artists including Curtis Mayfield, Diana Ross, Earth Wind & Fire, Gloria Gaynor and Donna Summer, this ultimate collection serves as a reminder of Kupper’s astounding blend of studio power, control, and agility as a producer and remixer. As the writing and production partner of the late godfather of house music, Frankie Knuckles, Kupper is a true musician and multi-instrumentalist who has played on, remixed, produced or engineered over 2,000 records spanning a wide range of contemporary musical genres.

Having worked on over 100 Billboard #1 ‘Dance’ records and mixed two records that have received the ‘Dance Record of the Year’ Grammy award, it is safe to say Eric Kupper’s hugely successful career underpins house music.

Locklead arrives on LOCUS in style as he drops a quartet of cuts via his ‘Blue Monday’ EP.

An artist undeniably in a purple patch following releases via Dungeon Meat, Vatos Locos, Dark Side Of The Sun and his debut album ‘Square One’ on Up The Stuss, Utrecht’s Locklead continues to flourish as one of the Netherlands’ hottest emerging house talents. Showing no signs of slowing down, his next release provides another signal of intent as he heads to FUSE sister imprint LOCUS for the first time. Following multiple appearances for the label at their London showcases, he now unveils four diverse and expansive offerings showcasing his far-reaching sound across his ‘Blue Monday’ EP.


A track that’s been the subject of ID requests for months, title cut ‘Blue Monday’ kicks things off in style as infectious vocals and spiralling synths go to work above a wormhole of a bassline to provide a peak-time cut already proven to work dancefloors. ‘Join The Tribe’ leans on tight rolling grooves guided by crisp organic drums licks, rumbling low-ends and off-kilter samples, while ‘Orbiting’ is a spacey journey into the late night hours. To close, Locklead takes things deeper as he layers rich chords, swinging drums and hazy vocals across a classy house effort to wrap up proceedings.

Vargmal Records is an independent record label and multidisciplinary platform founded by Gent Gjonbalaj. Operating from Prishtina, Kosovo, the imprint publishes hypnotic compositions of various forms, exploring the realms of electronic music and beyond. The label's debut release marks the birth of an initiative started several years ago, reflecting on a process of growth, research and refinement.

Conceived as a foundation record, the 'Classics' EP demonstrates Vargmal's concept and overall spirit. The Italian pioneer Leo Anibaldi inaugurates the label featuring two cuts on the A-side, originally produced in the early 1990s--'Muta 5' and an as yet unheard version of 'Endurance 4'--replete with Anibaldi's signature sound programming and high-octane output. On the flip, the torch is passed to another Italian master, Donato Dozzy, who takes them to another level with his peculiar and precise remix treatment. Where Anibaldi paves the way for a possible future, Dozzy applies a modern touch to the same fundamental approach--a balancing act that shows a spectrum within the conceptual framework from two different points in the continuum, transcending any individual style or place in time.

Selected by their ability to extract the full potentiality of the sound, the tracks on this release reflect a minimalist approach that is inherently resourceful and discerning, whilst maximizing effect and impact. The efficiency of the sound can be heard in the stripped-back elements, practical arrangement and execution of the creative idea. 'Muta 5' opens the EP, a throbbing mass of pressure cooker action, continuously building tension with rippling percussion lines and syncopated beats. Ahead of its time in 1993, 'Muta 5' has a raw, driving energy and commanding authority. Dozzy reworks it into a tighter, linear forma--whilst retaining the angst of the original, he applies new synth motifs and notches the speed down for extra poise. 'Endurance 4' (Version II) is a tribal workout with hallmarks of the classic Italian deep techno sound. With arching drones, chugging rhythms and dramatic narratives, 'Endurance 4' presents an idiosyncratic style and emotive character which later became the model for this sound. Dozzy's hypnotic faculty shines through on the remix, a polished re-run that elaborates on the ominous melodic theme, and lifts the sound majestically to a gliding altitude--marking the end of this record and the beginning of Vargmal's journey.

On this third Hoot release, gols takes the first action on the A side as a former point guard with a nice off the dribble. His second on the same side 'tritony' fits perfectly in the space created after this dribble. On the B side it's a old teamplay by glazing (Gols & Tom Dazing).

After our last release titled “jazz Baileys” we are back with House Experience Vol.2., this time in Ep format, presented by Bs As deep.
The previous volume was clearly dedicated to being a various artists, also with the participation of Bs As deep.

We have been working since vinyl number 4 with musicians, who have a participation in almost all the tracks released.

When we talk about musicians, we are including keyboardists, saxophonists, percussionists, guitarists or bassists.

Our goal or common thread has always been to achieve a warm and forceful sound, so that it can be heard in any environment, and at the same time be used at any time of the night, on a dance floor.
With those involved in both past and current releases, we share a common idea, which guides us in the interpretation of each song.
We also base ourselves on house influences from the late 90s (96,97,98,99)

Personally, we are moved by those times in which the sounds become more sophisticated, more elaborated in detail, and that is when we believe that the house that we listen to today with soul and jazz sounds, take on more relevance.

They also promote Afro and Latin percussion, leaning towards that New York and Puerto Rican fusion.

For all this, we like to include classic instruments, such as roland rhodes, the much-loved Juno, or korg packages with their inevitable M1.

Many shots are made live through a session expressed by the musician, who improvises for a while, from there we extract some part, which can be used several times in several tracks.

It is always necessary to do an editing job to adapt and correct any dissonance or variation in time that implies desynchronization in the beat. All this working in the sequencer of the daw to use.
On this album you will be able to hear soulful house sounds strongly impacted by keyboards, flutes and session basses, as well as some perfectly adapted percussion samples.

Zum 10. Jubiläum erscheint am 21. Oktober das Album „good kid, m.A.A.d city“ von Kendrick Lamar erneut.

Das Album enthält Gastauftritte von Drake, Dr. Dre, Jay Rock, Anna Wise und MC Eiht und erzählt die Geschichte von Lamars Erfahrungen als Teenager in den drogenverseuchten Straßen und dem Bandenleben seiner Heimatstadt Compton. Das Album wurde 2014 für vier Grammys nominiert, darunter für das Album des Jahres. Zudem enthält „good kid, m.A.A.d city“ die erfolgreichen Singles ”The Recipe”, ”Swimming Pools (Drank)”, ”Backseat Freestyle”, ”Poetic Justice” und ”Bitch, Don’t Kill My Vibe”.

Das Album ist als 1CD und 2LP auf 180g gepresst erhältlich.

Featuring Earl Jeffers

Silky smooth house vibes here from Retromigration as you would imagine. Intricate synth & sax riffs combine with perfectly timed vocal snippets to give a lush A side that wouldn’t feel out of place on KDJ.

The Earl Jeffers remix adds a bit more beef to the situation, bringing chunky Omar S style kicks for a dubbed out chunkier rework of the original.

'Stop the Presses' is an anthem! Ridiculous vocal work and smooth as you like shuffled beats provide the perfect setting for an absolute summer slayer.

'You & Dion' jacks the tempo up a notch and uses arpeggiated bass-lines and classic Retromigration wind instrument sounds to amazing effect.

Oliver Johnson alias Dorian Concept veröffentlicht am 28. Oktober 2022 sein neues Album, „What We Do For Others“, auf Brainfeeder. Es ist das dritte Studioalbum des österreichischen Produzenten und Synthesizer-Experten, der für seine einzigartigen, wunderschön detaillierten Klangteppiche und wilden, gar euphorisierenden Live-Keyboard-Jam-Videos bekannt ist.
„What We Do For Others“ ist ein entspanntes, ruhiges, selbstbewusstes und intimes Album, das auf herrlich lockeren Arrangements und rückgekoppelten Klanglandschaften basiert und mit Fetzen seines eigenen verfremdeten Gesangs unterlegt ist, der eher als zusätzliche Instrumentierung denn als lyrische Phrasen präsentiert wird. Alle Elemente und Schichten wurden ohne Unterbrechungen aufgenommen und absichtlich nicht bearbeitet. „Ich glaube, deshalb hat diese Platte so etwas wie einen ‚Bandsound‘.“, erklärt Johnson. „Ich spiele alle Arten von Tasteninstrumenten, singe und benutze Effektgeräte, um diese freien Kompositionen zu schaffen.“ Der in Wien lebende Johnson ist ein fester Bestandteil der experimentellen Jazz-/ Elektronik-Szene, die im Umfeld von Brainfeeders Aushängeschild Flying Lotus floriert und sich diversifiziert hat. Mit frühen Veröffentlichungen auf dem Kindred Spirits-Label Nod Navigators und Affine Records spielte Johnson bei den ersten internationalen Label-Nächten von Brainfeeder im Jahr 2009 (Off-Sónar in Barcelona und die berüchtigte Hearn Street Car Park-Session in London) und bildete eine starke familiäre Bindung mit der Brainfeeder-Crew, die auf der gemeinsamen Liebe zu freaky Elektronik-Jazz-Fusion beruht. Johnson war an der Produktion von Thundercats „The Golden Age Of Apocalypse“ beteiligt, spielte die Tasten auf Flying Lotus' bahnbrechendem Album, „Cosmogramma“, und tourte mit den Live-Bands von FlyLo und The Cinematic Orchestra. Außerdem steuerte er die Tasten auf MF DOOMs „Lunchbreak“ bei, das von FlyLo und Thundercat produziert wurde. Kürzlich arbeitete er mit Kenny Beats an dessen Debütalbum, „Louie“, zusammen, wobei er bei drei Stücken die Tasten beisteuerte, und tat sich mit einem weiteren Pionier zukunftsorientierter Elektronik - Mark Pritchard - zusammen, um Musik für Damien Jalets zeitgenössische Tanzperformance, „Kites“, an der Göteborger Oper zu komponieren. Im Jahr 2020 arbeitete Oliver mit einem der weltweit führenden Ensembles für zeitgenössische Musik zusammen, dem Klangforum Wien, und komponierte ein Stück namens „Hyperopia“, das beim TRANSART Festival in Österreich aufgeführt wurde. Johnson veröffentlichte sein Debütalbum, „Joined Ends“, 2014 auf Ninja Tune, bevor er 2018 auf Brainfeeder landete, um „The Nature Of Imitation“ zu veröffentlichen: ein Album mit schwindelerregenden Partituren, kakophonischen Breakdowns und formidablen Rhythmen, von denen Pitchfork schwärmte: „Dorian Concept schafft etwas, das Elektro-Funk-Autoren der 70er und 80er Jahre wie Kraftwerk, George Clinton und Roger Troutman angedeutet haben: Computermusik, die den Funk unverhohlen imitiert, anstatt ihn nur zu faken.“.

(Late Nite Tuff Guy & Farley 'Jackmaster' Funk Remixes)

An ‘80s dance classic from the legend John Rocca, gets a fresh new take from Aussie edit king Late Nite Tuff Guy alongside a remastered reissue of Chicago house royalty Farley 'Jackmaster' Funk’s 1987 Hot House Piano Remix.

The main man behind jazz funk favourites, Freeez, John Rocca took to the studio in ’84 and whipped up an electro-fied steamer in the form of ‘I Want It To Be Real’. Tantalizing synthwork, beefed up basslines, gated snares and pure ‘80s vocals, it’s a melting pot of influences with a catchiness that caused a serious stir.

This special double header of remixes kicks off with a brand new mix from Late Nite Tuff Guy. He builds up the brilliance with masterful effect, keeping the vocal in the back pocket till the final frontier whilst adding in some buttery new synth magic and deft filtering to the mix.

On the flip, Chicago house don Farley 'Jackmaster' Funk’s 1987 remix homes in on those blissful piano and vocal stabs for a dubbed out ‘Hot House Piano Mix’. Spiritual keys laid down with passion that will be sure to get any dancefloor hot under the collar.

DJ Feedback:

OPTIMO/ JD TWITCH
Nice! The Farley mix is an all time classic. Lovely version from LNTG.

GERD JANSON
I have love for this.

GRAEME PARK/ THE HACIENDA
I vividly remember playing this record the day it was released while working at Selectadisc in Nottingham like it was yesterday. I played it the same night at The Garage club not long after I started DJing there. It brings back some great memories and this superb remix is just wonderful. Its made me get all bleary eyed and tingly. Absolutely tremendous stuff.

AXEL BOMAN
Love this

KAI ALCE / NDATL
This is a HOT EDIT from Late Nite Tuff Guy!

A LOVE FROM OUTER SPACE/ SEAN JOHNSON
Killer - love it

NORM TALLEY
I love this!

CROSSTOWN REBELS
Nice one!!

JACQUES RENAULT / LETS PLAY HOUSE
LOVE the classic Farley piano mix and the LNTG version is a fun take too!

OSUNLADE/ YORUBA
LOVE THIS!!

DANIELE BALDELLI
Love this classic, and now more love for both new remixes

DANNY TENNAGLIA
I really like this remix

DANNY KRIVIT/ BODY & SOUL
Nice

DJ KEMIT/ ARRESTED DEVELOPMENT
An incredible beefed up edit of an international dance floor classic. 10/10

HELENA STAR / NTS
Amazing record, those chords!!

LOUISE CHEN/ NTS
I’d love to play this.

ERIC DUNCAN/ RUB N TUG
This ones cool.

MAKE A DANCE / BEN
Yes yes yes pease love the original so much.

HOT TODDY/ CRAZY P
The Farley mix is a total winner which is a new one on me, LNTG mix is pretty tasty also

TERRY FARLEY
Yes please. A big early House lesson for me BITD

SUB CLUB HARRI
Realy diigin this.

GROOVE ARMADA / TOM FINDLAY
Love this, production is so good!

The absolute Don of Italo piano house, Don Carlos brings his legendary sound to RNT with an EP of classic floor fillers. Don (Carlo Troya) and S-Tone (Stefano Tirone) released two records on Bologna label Calypso in the early 90s under the artist name Montego Bay.

Incredibly, the four tracks on this EP were also produced 30 years ago, then shelved and forgotten about until recently when a connection with RNT inspired to Don dig up their rare vintage! From pumping melodic house jams like Music All Night and Waited So Long, to sampled disco house cuts Keep Dancing the Boogie and Gotta Keep Dancing, this EP is a veritable time capsule, dripping with the swag and sonics of the golden era of 90s club music.

Home is a powerful concept with an abstract definition. This solo album takes those subjective ideas and unifies them under one roof. Evolving from Jerve’s #dailypiano posts in 2019, ‘The Soundtrack of My Home’ relays thoughts and improvisations that trace his journey from childhood home to adult and now, father. Nurturing a mood or feeling, each song begets a sonorous story of someone close to him, expressed through the language of piano playing.

Jerve makes use of his hands as a human step sequencer, often programming two or more motifs of varying lengths in a polymetric fashion. These melodic patterns and arpeggios evolve at varying rates but grow around clear progressions with standard 8-bar forms.

The first track - ‘Kjetil’ enters with an earnest, gentle and endearing character - like a young river near its source. As with such a river, it will grow to varied sizes throughout the album but must begin as a humble expression from the source. The following titles sketch his interpretations of the people that have made up his home.

There is a theme across the album that unites the songs, so much so that differentiating tracks can at times be difficult. Though, Jerve punctuates this overarching mood with a few distinct structures, as found in tracks ‘Karoline’ (wife), ‘Espen’ (brother) and ‘Sven’ (father). ‘Turid’ (daughter) and ‘Jon Eirik’ (brother) seem less directive and welcome more intrigue, reminiscent of a curious child wandering through the dappled light of a forest.

‘Iben’ (daughter) and ‘Eivor’ (daughter) have a hypnotic, three-pointed melodic structure that leaves the listener suspended; transfixed - while ‘Sussi’ (cat) carries unique momentum and suitably feline autonomy. ‘Mette’ (mother) has a mood of ascending, like that of a child's upward gaze at their maternal carer. Utterly nuanced in structure, Jerve leaves ample space for subjective interpretation and allows the listener to weave their own life into the tones.

As expected from the founder of Dugnad rec - this album signifies a deeply personal sentiment. Sometimes we are forced to confront the music and other times, we are left to wonder. Here, we find a balance and unity that allows little thoughts and worries to drift away, bringing us warmly to rest in the present. The LP edition's bonus track features producer/performer extraordinaire Stian Balducci, drawing a line to the next chapter of piano-based music from Dugnad rec: TOKYO TAPES: PIANO RECYCLE.

Red Hot Chili Peppers announce their brand new studio album, Return of the Dream Canteen which will be released October 14th on Warner Records. The surprise announcement was dropped at Denver’s Empower Field to rapturous response as the North American leg of their critically and commercially acclaimed global stadium tour kicked off.

The news of Return of the Dream Canteen's imminent release marks the band’s second album of 2022, hot on the heels of the platinum-selling chart topper Unlimited Love which was released in April debuting at #1 in the UK. It will also be the band's second Rick Rubin produced album of 2022, and reinforces their reputation as a band at their absolute peak, riding the crest of an undeniable creative wave.

Continuing to win over audiences across the generations, the band performed a run of sold-out UK/EU dates earlier this year, including two nights at London Stadium. "A scorching European touch-down from the California legends" – CLASH

We went in search of ourselves as the band that we have somehow always been. Just for the fun of it we jammed and learned some old songs. Before long we started the mysterious process of building new songs. A beautiful bit of chemistry meddling that had befriended us hundreds of times along the way. Once we found that slip stream of sound and vision, we just kept mining. With time turned into an elastic waist band of oversized underwear, we had no reason to stop writing and rocking. It felt like a dream. When all was said and done, our moody love for each other and the magic of music had gifted us with more songs than we knew what to do with. Well we figured it out. 2 double albums released back to back. The second of which is easily as meaningful as the first or should that be reversed. 'Return of the Dream Canteen' is everything we are and ever dreamed of being. It’s packed. Made with the blood of our hearts, yours truly, the Red Hot Chili Peppers.

Force Placement's AEROBICIDE EP is a killer workout of afterhours acid and galaxian breakbeat.

Four hypnotic bangers from Los Angeles with remix support from DJ Manny, D.I.E., and Martyn Bootyspoon

Los Angeles – Following releases on 100% Silk, Clave House, BANK NYC and Lost Soul Enterprises, FORCE PLACEMENT arrives on EVAR Records with four tracks of naughty squelching acid and breakbeat techno hypnotically calling you to the afterhours, backed by a trio of remixes from Martyn Bootyspoon, Detroit In Effect, and DJ Manny, representing North American excellence in techno, electro, and footwork, respectively.

A longtime friend of the EVAR crew from renegade breakcore parties in Santa Barbara to underground experimental electronics happenings in Los Angeles, Into the Woods and The Black Lodge resident Jason "Force Placement" James taps into his love of weird trippy atmospherics, rhythmic complexity and DIY punk/noise aesthetics to create this quartet of mystic, mysterious bangers, crafted with the MPC1000, Elektron's Octatrack sampler, the Korg minilogue, and Ableton.

The AEROBICIDE EP begins its killer workout with "Yeeks," a cabalistic ass-mover driven by a haunted female vocal sample floating atop locomotive bass and shakers – a factory's worth of industrial sounds and eerie accents move in and out of the mix, adding intrigue and interest.

Moving to the main room of the rave, "Balloon Animal" shoots you through an inflatable tube of squelchy acid techno as knives cut the air around you, while "Upsetter" adds a shuffling breakbeat rave bounce into the acid mix. "Quartered" chops it up with Clone-style dark analog electro that gets increasingly deconstructed by dirty, stretched percussion and rivulets of synth reverb raining down the walls.

Rounding out this occult aerobics class, some of North America's most compelling forces in dance music are called in for remix duty. Unsung electro hero Detroit In Effect aka D.I.E. – the man behind such classics as "RU Married" and "Get Up" – leans deep into the classic Motor City palette, pairing lush, spacey pads with that hard-swung Detroit bounce to create a mellow groover that will keep you going all night. Montreal's world-class party starter M. Bootyspoon recalls Substance Abuse-era Hawtin and mid-'90s Midwest techno on his "Balloon Animals" remix, with nasty claps and concentric loops of hard acid bleeps and squelches. And who better to tackle "Upsetter" than Southside Chicago's footwork futurist DJ Manny? The Teklife king eschews the romantic R&B tones of his recent Planet Mu album for a tough-as-nails rework that ups the tension and the tempo to create an otherworldly saga for the dance circle.

Developer Archive returns with its 14th release, this time it's 8 tracks with the moods and grooves changing on each track, it's mostly a slab of Developer made exotic techno, with looped riffs, haunting modular electronics and occasional mind-altering synth lines. Huge TIP

Latest MAYAK release #16 features label's resident Anton Kubikov with a classy slow dub-techno track incorporating sax from Egor Khz and dreamy acapella by Ilya Abud. On the flip we share remix by bullet proof Bluetrain feat. Prince Morelo for proper dancing vibes.

2022 Repress
Dear Friends,

25 years of KOMPAKT is no reason to get hysterical. Then again, it's a nice occasion to have a laid back look at the situation in electronic music today. Minimal techno in all it's varieties is now established as the worlds best dance music, as you may know. So far, so good. What's next Nothing. Dance on!

I've gain two essential insights with the passage of time. First off, that music which over the years only knew 'faster, better, stronger' and 'forwards ever - backwards never' can constantly repeat, quote and loop itself without killing itself. A music that suspends the meaning of time and eventually can set a parallel, better universe of fantasy against the twisted grimaces of reality. Again and again.

And secondly, that getting older living in/with this music is a quite relative term to which ideally a serenity of age can ring a bell. This shows that 25 years after 1993 so many protagonists, enthusiasts, DJs, musicians, relentlessly rave fighters - with all personal advancement - are still there and still celebrate, play or produce this/theirs music; and compete themselves and their music just with that.

Two such heroes of the neat and tidy bass drum culture are with no doubt T.RAUMSCHMIERE aka MARCO HAAS and REINHARD VOIGT. From day one, those two figureheads have given live-techno the glam of stage-diving rock 'n' roll, long before vodka and beer prevailed as alternative lube for ecstatic dancefloors.

Even better they both now raise the glass at the longest techno-bar in the world named KOMPAKT EXTRA/SPEICHER. With DREI MILLIONEN KO¨LSCH, Reinhard Voigt continues to establish his savvy 'way into sound', which he's pursued for a few years now on his many releases. He's turning genre cliche´s into a very personal take with his defiant mix of the deepness of a lonesome cowboy and his implicit faith in the dancefloor and gives the music a very personal touch of ennnoblement of the faith in itself. Technos dignity shall be inviolable.

For me, AUGEN ZU by T.RAUMSCHMIERE is one of the most beautiful masterpieces of bass-heavy 'Umta Umta' techno. A few strikingly brilliant vocal lines from the master himself, put through the machines and combined with a relentlessly sequencer that says it all. This cheers my heart and we will always need such tracks to remind us of ourselves. And to forget about ourselves. Smash hits of unreason! Or the prettiest declaration of love to a music which gets its magical moments from what's happening between the bass drum-beats. But only by this when the bassdrum remains linear and will do so forever. Both Marco Haas and Reinhard Voigt know that. Because after techno comes always techno.

Wolfgang Voigt - May, 2018 Wolfgang Voigt - May, 2018

25 Jahre KOMPAKT sind kein Grund sich aufzuregen. Aber dennoch ein schöner Anlass, einen gelassenen Blick auf die Lage der elektronischen Musik zu werfen. Denn der globale Minimal-Techno, in seinen unterschiedlichen Spielarten, hat sich bekanntlich längst als beste Tanzmusik der Welt etabliert. Recht so. Was nun Gar nichts. Weitertanzen.

Zwei essentielle Erkenntnisse haben sich bei mir im Laufe der Zeit durchgesetzt: Erstens - dass eine Musik, die über Jahre nur ein »Höher, Schneller, Weiter« oder ein »Forwards Ever - Backwards Never« kannte, sich ständig wiederholen, selbst zitieren und loopen kann, ohne daran zu ersticken. Die Bedeutung von Zeit und Vergänglichkeit im besten Sinne außer Kraft setzen und der hässlichen Fratze der Realität eine parallele, bessere Welt der Fantasie entgegensetzen kann. Immer wieder.

Und zweitens: dass »Altern in/mit dieser Musik« ein sehr relativer Begriff ist, dem bestenfalls Altersgelassenheit etwas sagt, Alter. Das zeigt sich immer wieder im schönsten Sinne, wenn 25 Jahre nach 1993 so viele Akteure, Enthusiasten, DJs, Musikanten, unkaputtbare Kampfraver, bei aller persönlichen Weiterentwicklung, immer noch da sind und immer noch diese/ihre Musik abfeiern, auflegen oder eben produzieren und sich und ihr Tun auch nur daran messen lassen müssen.

Zwei solche Recken der gepflegten Bassdrumkultur sind zweifelsohne T.RAUMSCHMIERE aka MARCO HAAS und REINHARD VOIGT. Zwei Rampensäue der ersten Stunde, die Live-Techno den Glam des Rock'n'Roll Stagedivings gegeben haben, lange bevor Vodka und Bier sich als alternative Gleitmittel eines ektatischen Dancefloors in der Breite durchgesetzt hatten.

Umso schöner, dass sich eben diese Beiden mal wieder an der längsten Techno-Theke der Welt, genannt KOMPAKT EXTRA/SPEICHER über die beiden Seiten einer Schallplatte hinweg musikalisch zuprosten. Mit dem Track DREI MILLIONEN KÖLSCH setzt REINHARD VOIGT seinen smarten »way into sound« fort, den er schon seit ein paar Jahren auf diversen Veröffentlichungen konsequent verfolgt. Mit einer trotzigen Mischung aus lonesome cowboyhafter Deepness und dem unbedingten Bekenntnis zum Dancefloor schafft er es, den Klischees des Techno eine sehr persönliche Note der Veredelung des Glaubens an sich selbst zu geben. Die Würde des Techno ist unantastbar.

Der Track AUGEN ZU von T.RAUMSCHMIERE ist für mich eines der schönsten Meisterstücke in der Tradition des oktavbassgeschwängerten Umta-Umta Techno. Einige wenige markant brilliante Textzeilen, vom Meister selbst in deutscher Sprache durch die Maschinen geschickt, gepaart mit einem Sequenzer der keine Gefangenen macht, lassen keine Fragen offen. Da geht mir Herz und Rucksack auf. Solche Tracks werden wir immer brauchen, um uns an uns selbst zu erinnern. Um uns immer wieder selbst zu vergessen. Smash-Hits der Unvernunft! Oder die schönste Liebeserklärung an eine Musik, die ihre magischsten Momente immer aus dem gezogen hat, was zwischen den Bassdrumschlägen passiert. Das funktioniert aber nur, wenn die Bassdrum gerade ist und es für immer bleibt. Und Marco Haas und Reinhard Voigt wissen das. Denn nach Techno kommt immer noch Techno.

Wolfgang Voigt, Mai 2018

Mr Bongo are delighted to present an officially licensed re-issue of this underground Japanese rock rarity 'Uganda (Dawn of Rock)' by Akira Ishikawa & Count Buffaloes. This album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

The respected Japanese jazz drummer Akira Ishikawa was not messing around when he recorded the 'Uganda (Dawn of Rock)' album with his band the Count Buffaloes. For this offering, originally released in 1972 on Toshiba Records, Akira Ishikawa takes us on a deep tripped-out journey. 'Uganda (Dawn of Rock)' is a fusion of progressive and psych rock with African percussion workouts, dergy-wah wah blues-funk, and jazzy sensibilities; with different genres morphing and uniting as they progress.

A long way from his funk and afrobeat album 'Back To Rhythm’, re-issued on Mr Bongo in 2019, this record has a darker, deeper, abstract and experimental stoned tone with the listener being pulled into its vortex for the ride. This record doesn’t pull any punches.

For this album, Akira is joined by Hideaki Chihara on bass, guitarist Kimio Mizutani, sounding at times like an early 70s Peter Green, percussionist Larry Sunaga and composer Takeru Muraoka.

The album has become highly sought-after amongst psych, prog and acid rock collectors and due to the rare nature of original copies they come at a hefty price tag.

We are delighted to present an officially licensed re-issue of this underground Japanese rock rarity.

Available in 2 formats: Original LP in Box version & Tip-on Sleeve with OBI version.


• Highly sought-after underground Japanese rock rarity, originally released in 1972.

• Feat. Hideaki Chihara, Kimio Mizutani, Larry Sunaga and Takeru Muraoka.

• Available as the original LP in Box version & Tip-on Sleeve with OBI version.

This boxset features remastered versions of all of Sade’s studio albums to date, on pure 180 gram black vinyl the first complete collection of their studio work up to the present day All six of the band’s acclaimed albums Diamond Life 1984 Promise 1985 Stronger Than Pride 1988 Love Deluxe 1992 Lovers Rock 2000 and Solder Of Love 2010 are packaged into the beautifully finished, white case bound box Revisiting the audio, the band worked from high resolution digital transfers of the stereo master mixes, from the original studio recordings, remastered at half speed at Abbey Road Studios The elaborate, half speed mastering process has produced exceptionally clean and detailed audio whilst remaining faithful to the band’s intended sound No additional digital limiting was used in the mastering process, so the six albums benefit from the advantage of extra clarity and pure fidelity, preserving the dynamic range of the original mixes for the very first time The six album sleeves have been meticulously reproduced in exact detail with authentic paper and printing methods, perfectly replicated for the first time since their original release.


Over an exceptional career spanning more than three decades, Sade’s six albums have amassed over 60 million worldwide sales and have been certified platinum 24 times over Producing singles such as ‘Your Love Is King’, ‘Smooth Operator’ and ‘By Your Side’, Sade have gone on to achieve Number 1 albums across the world, collected several Grammys, MTV Video Music Awards, and a BRIT Award along the way, quietly taking their "place in the pantheon of cultural influence” New York Times, October 2017. Their most recent studio album, Soldier Of Love, charted at number one in 15 countries, including the US, upon release in 2010.