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Following the success of its first release by the ever elusive Jason Grove, the vinyl-only sub-label Skylax Extra Series returns with a little something beyond special. For those house-heads in the know, the man needs no introduction, but for those uninitiated, sit back and prepare for this double 12' selection to further your education in house music.Joey Kay hails from Chicago in the US and has influenced a great many producers in the last two decades with his signature take on the deep house sound. He keeps things simple in the best possible sense of the word, stripping back tracks to their bare essentials in order to maintain what the spirit of house music is all about: the groove, the soul and the feeling of being carefree, even if only experienced for a few minutes at a time. There are no superfluous or ancillary sounds in Joey's music and this is all the more evident when taking a step back and listening to his spectrum of output in this collection, which spans more than twenty years of his career.

The mighty Bohari return with another in their split-single series, showcasing new and exciting artists.

We have no idea who Barrut Fulsara is and he won't tell us a thing - all we know is that he has been in the game for a long time, and that this new moniker is for his excursions into deeper territory.
We're just happy he chose Bokhari as the outlet.

Joe Europe on the flip delivers the kind of synth-laden quirky house that we love at Bokhari and we're pleased for this beautiful track to finally see the light of day...

Listen to this if you like: anything that we've put out last year, wrapped together in a lovely double pack of a 12 and 10. The Roundup part 1 is the first part of an annual recurring event: the big Heist family remix EP, where all artist names get put in a big bowl, and by luck of the draw, find themselves remixing (and remixed by) another Heist artist. We've got Max Graef remixing Detroit Swindle and turning the break up into a full on Graef-affair. The label heads themselves take 'The Organ Grinder"'s 'Change all the time' and turn into a deep Chicago-esque tune and completing the 12, there's Frits Wentink's take on Bluebottle, experimenting with his trademark shuffle. On the 10, Standout track of the first year of Heist 'Jungle' gets a lovely rework by Nachtbraker, giving it a more 4x4 feel than the original and The Organ Grinder who turns Frits Wentink's Schrewd into a full on Filter house cut. The artwork is handmade and photographed by Baster. Sincerely yours, Lars & Maarten

REPRESSED !!
Tim Xavier's newest imprint looks to cross the boundaries between House and Techno, this time featuring Jamaica Suk with her Spektrum EP. Stepping into harder Techno territory the up and coming artist brings a solid 4-track EP with style and flair like none other.
Born and raised in California, Jamaica Suk has always been surrounded by music playing many instruments as a child. In her teenage years she began to play bass guitar in many Math Rock and Shoegaze bands. After becoming frustrated with the conflicting ideas of band members she would eventually find a new love in electronic music.
After enrolling in audio engineering school in San Francisco, she quickly became a known force within San Francisco's electronic music scene. Once she completed her audio engineering studies she decided she wanted more. Traveling around the world following her Techno dreams, she would eventually find her new home in Berlin where she has built her own fully functioning production studio at Salon Wilde Renate.
Jamaica makes her vinyl debut on Face To Face, following her Embers EP on Coal Recordings. Her sound can be described as sexy and sophisticated contemporary Techno but still packing a punch that puts it perfectly in line for prime time sets. The 4-track EP with a bonus digital only track explores all her ideas as a musician and artist including taking inspiration from her rock roots with gritty raw elements.
Already highly respected amongst her professional peers as a tour de force of creative energy and drive. There is nothing this woman can't do, as all her work is produced and mixed solely by herself. She continues to push the boundaries of Techno music while staying true to herself as an artist and it's through this determination we're sure to see more from Jamaica as she continues to evolve.

This (insert month) FUSE London's sister label, Infuse, returns with the seventh installment of the series with three superior house deviations from Wigbert, Motif and Pelle & Roon aimed squarely at those in the know.

First up is Wigbert and his track 'Bongo Bongo' lives up to its name as it is a percussive journey through various rhythms. Next up is Motif who delivers the excellent rolling house number 'Inner' which features a dubby bass line, with an intermittent wailing vocal and perfectly executed stabs. 'Gida' by Pelle & Roon rounds off the EP in fine style. It is another low-slung house number characterized by deep bass and warm chords washing against more mechanical sounds.

This seventh installment is another sterling addition to the famed Infuse series. All the artists on offer here showcase their distinct sounds and styles and despite effortlessly slotting into that loved Infuse sound, their differing personalities shine through. Essential.

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

This is the record of the year for us. GoldFfinch are mindblowing on this one, it's their very first move in this direction and the reusult is just brilliant. This is DJ material that cannot be overlooked, all three gorgeous tracks out on vinyl in September as part of our Clubwerks series.

Within the infinite flow of quality emotional techno, GoldFinch have geared up to follow the fine sonic trail lead by the likes of Life and Death, Innervisions, Ten Walls and many others bringing together the massive appeal that only impeccably crafted techno can draw.

We just want this music played where it can be heard by everyone. Endless love.

PAULINE MURRAY , LEGENDARY VOCALIST OF MUCH LOVED PUNK BAND PENETRATION.
GUEST MUSICIANS JOHN MAHER (BUZZCOCKS) and VINI REILLY (DURUTTI COLUMN).
PRODUCED BY THE GOD-LIKE MARTIN HANNETT.
ARTWORK BY PETER SAVILLE AND TREVOR KEY
LINER NOTES BY JON SAVAGE
The double vinyl edition also includes a bonus CD featuring instrumental versions of all the album tracks (a must for students of Hannett's unique production sound), along with alternate takes of key singles.
Les Disques du Crepuscule presents a deluxe remastered edition of Pauline Murray and the Invisible Girls, the debut album by post/punk icon Pauline Murray, produced by revered sonic architect Martin 'Zero' Hannett.
Recorded at the famous Strawberry Studios in July 1980, the album offered epic electronic pop written by Pauline and partner Robert Blamire and marked a radical departure from their shared past in pioneering punk band Penetration. 'This is sophistication,' enthused Paul Morley in NME. 'Lovely songs of anxiety, malaise and self-doubt.' According to Melody Maker the album was 'unquestionably a musical highpoint of this year or any other.'
As well producer/arrangers Martin Hannett and Steve Hopkins (aka the Invisible Girls), the album features a stellar cast of guest musicians including John Maher (Buzzcocks) and Vini Reilly (Durutti Column). Indeed Pauline Murray and the Invisible Girls presents almost a Factory record, exquisitely sleeved by Peter Saville and Trevor Key. Stand-out tracks include the popular singles Dream Sequence and Mr X, with the newly remastered Hannett tracks now augmented on CD by a wealth of bonus material including non-album singles, live recordings (from tours in 1980 and 1981) and a John Peel session (1980). The liner note is by Jon Savage.
'It's a bit of a missing link album,' says Pauline today. 'Written and recorded after punk, but before Martin Rushent and the Human League made airy pop respectable again. We chose the other Martin in 1980 because we wanted the incredible sounds he achieved for Joy Division and Magazine. Thundertunes, basically.'

After great success of 2 previous releases, 'Sound Of Vast ' is now about to hit 3rd release. The producer of this deep monster is one of the most respectful Japanese artist, and Womb's resident Dj 'The People In Fog (aka DJ Sodeyama).'
Even though DJ Sodeyama is more known as techno producer, The reason that Sodeyama used the other nickname was, As you could guess from poetic sentence, to express his music in more deeper and emotional ways, he even choose EP name as 'Deep', also, all the track's titles contains the word 'Deep', funny but straight forward way of thinking, if you want to deliver right moods on the dance
floor, by not only sold beat but also unusual emotions that come from organic percussion, this whole EP will give you the answer.
As usual of SOV policy, this EP contain one each of exclusive digital, and vinyl only tracks, this time, 'Deep
Woods Remix' chosen as vinyl only exclusive, the remixer 'Elbee Bad' is the legend of US House, as known as 'The Prince Of Dance Music', if you are fan of Rush Hour Records you should be heard about his name, as he is one of the be loved, and featured artist from the label. His remix of 'Deep Wood' is indeed funky and sexy, one more reason to have this vinyl in your collection.
Lastly, this EP will pressed 500 copies only with out repressing, quicker people will have a benefit as usual.

After their very large re-make of 'Dinosaur's 'Kiss Me Again' on Volume 2, Pablo and Shoey go straight for the jugular again here, extending an old housed up bootleg version of Eddie Kendricks' 'Keep On Truckin' into 8 minutes of dancefloor devastation.
Pre- Discogs, pre MP3's of everything ever recorded on the 'net, this little gem was one of the most potent secret weapons for The Unabombers in the heyday of Electric Chair. Some old fashioned, dusty crates digging by Pablo turned it up - now the world gets to have a listen !

Also included in the package is Detroit legend Terrence Parker and his deep, shimmering 1996 house classic 'Your Love', an after hours staple for the DTS boys since year dot.
Drenched in a hypnotic organ loop and a beautiful, tender vocal, it's house music with a warm heart and a sharp kick, perfect for a 'Let's All Have A Hug' moment at 5am !

"Teilstueck" (German for part or segment) is the next excerpt of Jacob Stoy's ongoing attempt to translate his surroundings into music. It's his second EP for Uncanny Valley and is even more multifaceted than his debut "Redenswart" from 2012. With "OMG" you'll get the feeling that something sublime will happen right from the beginning. It's one of those tracks whereby time stands still until a mighty synth-line unfolds in all its glory. "CFM" comes in the same musical vein with a similar and slightly melancholic bass-synth dominating the drumming. By far more cheerful is "MKM". Based on a catchy bass line foundation, Jacob Stoy showcases wonderful synth-effects and sound with the beautifully oscillated pad making the cut. This is House music for machine lovers. The flipside starts with "HIM" and probably the most floor-friendly track on the record. The slowly but steadily rising organ chords prepare things and when the carefully targeted percussion elements come in, it feels like summer will never end. In contrast, "QFL" lives from its mysterious atmosphere and is very good example for Jacob Stoy's preference to use Electronica-like sounds for his House Music. The record is rounded up with "HHM" and a little nod towards past times when he used to play in a Jazz band. With its Delay effects, a fuzzy guitar and a great bass melody it's not far away from Krautrock either. For the artwork Jacob Stoy teams up with fellow student Chris Dietzel.

Balearic maestro Max Essa joins the dots seamlessly between the ambient imaginings of Sakamoto, the Krautrock rhythms of Neu and the beach pop of Chris Rea , while making them all dance together like waves on the beach.

This is some of his very best work to date and demonstrates a producer at home at the controls and a real musician with a vision.

Your carnival sounds like this...

Founded by Matthias Schildger & Carlo Ietri in 2013, Repeat is finally ready to conquer the world and bring it's sound to all music lovers out there.
The first imprint of the new label was made by Wigbert // Matt Star & Marvin (incl. Dorian Paic, Dragosh Rmxs) and is called - Play, Stop, Repeat'. It will be out very soon on vinyl and digital.
With the label comes a new booking agency which contains a nice mixture of already well known artists and a few fresh and talented ones.

Here a little overview what you can expect from the first release - Play, Stop, Repeat':


Wigbert - Destroy me:

Wigbert unleashes a monster of a track with - Destroy me' on the dancefloors worldwide. Powerful beats combined with hypnotic rhytmic and some dark vocals will shake your body for sure! This tune will destroy some speakers if you are not careful with the volume... :)

Dorian Paic Remix:

Dorian Paic transforms Wigberts tune into a more happy and melodic but not less uplifting setting with the addition of some nice piano chords. It will put some sunshine into your hearts!

Matt Star and Marvin - In the Trees:

Matt Stars long experience in production combined with the freshness of the very talented Marvin resulted in this deep and groovy track driven by some nice drums and a fat bassline. Dark Athmospheres meets broken beat dubbish minimalism is the best way to describe it.
This track will go straight to your bones!

Dragosh Remix:

Dragosh's interpretation of - In the Trees' is a more percussion orientated track wich will put a lot of smiles on the faces of dancers. Crispy, rhytmic and simply good.

And now, Play, Stop and REPEAT!!!

Two of Harvey Scales' finest recordings back to back on one 45rpm single re-issue. Trying to Survive is probably his most sought after release in the world of soul 45rpm single collectors. It is not only the rarity but quality though which makes this re-issue a must-have for all soul lovers who do not want to spend $1000+ for an original copy.

Soul Deep has established itself as one of the hottest labels bringing quality Drum & Bass to all D&B lovers. The label features a number of talented artists and a diverse sound, with songs from many different styles of Drum & Bass. Whether it's deep, liquid, jazzy, or atmospheric, Soul Deep is committed to releasing timeless songs that satisfy the Soul.
dRamatic (V RECORDS / LIQUID V / CHRONIC / GOOD LOOKING / INNERGROUND / INGREDIENTS / FOKUZ and many more) brings the funk on this latest vinyl release. Signature amen breaks laced with pure funk and heavy basslines. Cool and effective on the dancefloor, summertime fav!
Malaky & MsdoS (FOKUZ / PRESTIGE, and more) step in for the flip. Reminiscent of the wellknown Goodlooking sound, this one is another perfect anthem for the summer festival spirit. Pure funk!

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

Phiorio's Animals release has been a labour of love. After co-running Metroline Limited for the past 6 years and after a series of digital releases and remixes for both Metroline and Retrometro (as well as Letroom Limited and MBF amongst others), Phiorio's vinyl debut on ML finally sees the light of day. The choice of remixers has also been laborious but over at Metroline HQ we are really happy that in the end we managed to secure two stunning reworks by the likes of the more and more in demand French producer Doubtingthomas (with releases on labels such as Hummingbird, Organic and of course, Metroline Limited) and the super-hot up and coming Russian producers Adjustment Bureau. The EP opening track Ninja Cat is a deep and quirky number. The groove is tight with heavy drums and crisp percussions. An acid b-line leads the way while atmospherics pop in and out until an off key synth appears and adds a level of spookiness to the proceedings. Doubtinthomas remix take things into even deeper territory. His landmark reduced drum programming is very noticeable here with shuffled up percussions, lush pads and a very heavy bass to guarantee maximum impact on the dancefloor. Superpupider is a no-nonsense straight up dark and dirty techno tool. It's all about the groove with this track, the drums lead the way with clever use of filtered hats and percussions. That said, Phiorio's ability with abstract sound is still in evidence with plenty of spooky voices, pads and noises firing off in all directions. Adjustment Bureau remix of Ninja Cat completes our tasty package. The Russian duo's (soon to release a stunning debut EP on Hypertone) approach is in line with modern trippy and experimental techno and has a distinctive 'Romanian' vibe. They used the original elements of the track and added extra percussive and vocal samples to create an epic, intricate and groovy paranoid funk number.

Repress

Rarely you come across a record which embodies Dubstep so well that rallies the entire scene behind it. From the brosteppers to the deep heads this record has been getting love from all corners of the earth. We're talking about "Under Control" the latest outing from Germany's next top wobble aka Bukez Finezt. Its eerie intro sets the tone perfectly to interlude this hypnotic stomper. Once the sonic warfare is unleashed it'll transport you to a word of desolation, where aliens run rampant and technology has absorbed everything around them.
"You Don't Belong Here" & "Pace Yourself" are on a equal tip. 2 bigtime subloaded heavyweights that'll remind you that Dubstep is still very much alive and reminds us why we fell in love with this minimalistic bass heavy genre to begin with.

Here's what some DJ's had to say about Under Control:
"VERY NATTY!" - N-Type (Wheel & Deal)
"This one destroyed Contact last night" - J:Kenzo (Tempa)
"Three words.... Gun, Finger, Riddim." - Kaiju (Deep Medi)
"DUDE TUNE" - Megalodon (Never Say Die)
"System tune. Don't even bother playing this at home!" - TMSV (Artikal)
"Biggest tune of the year" - Tunnidge (Chestplate)
"One of the heaviest, most refreshing records of the year" - Compa (Deep Medi)
"Pfft more like OUT OF CONTROL" - Beezy (HENCH

Right after the tremdendous irritation caused by Pommes 001 has reached its peak, here comes - surprise surprise: pommes002 ! This time reviving the worst or the best 90ies club music had to offer. The A-Side belongs to Daniel Nentwig aka one half of The Working Elite, one third of the now defunct Extraproduktionen and Whitest Boy Alive's Keyboard-Wizard. He's wearing his brandnew D'Lonely Al sweater and presents "We can have it all" , a well hung slice of sparkeling proto house that could have fit very well on a KissFM Mastermix by Tony Humphries! Next up we have the pleasure to present to you the debut release of Cologne based Skateboard Pro Jeremy Reinhard aka Jeremaier, who teamed up with Paco Guedes and no other than Arj Snoek (whose track People Know had been and still is a true milestone for the Terre De Pommes possee!) . "Goldnugget " is something like the alternative college radio version of Show Me Love by Robin S! Good vibes galore-- - Just like Robin Hood - Terre Des Pommes takes it from the rich and gives it to the poor.. Probably the only explanation for the Trance Acid Remix of tech house outlaw Phillip Lauer.. Panflutes anyone

Their release on Kompakt at the tail end of last year was a big record for me and this follow-up has been getting incredible reactions in my sets. We're excited to bring it to you on Systematic as our #99 and keep a look out for the limited white transparent vinyl. Enjoy." - Marc Romboy

Monika Kruse - 'Rainer and Namito are two of the nicest guys in this business plus good producers! Well done again! Will play all.'

Kiki - 'Machine funk freakout! Should be a big one, as the last one!'

Huxley - 'Zick is a flipping MONSTER!! AHHH YESSSSS!!!!'

Claude VonStroke - 'it's a great record. I've been playing it for like 10months already.'

ZDS (Zombie Disco Squad) - 'Zack sounds like a chilled out Vitalic. I like it and will be giving it a spin.'

Sinden - 'These are fun tracks, also really liked their Kompakt release. Can't wait to play these.'

Tom Findlay (Groove Armada) - 'Well I absolutely love both cuts.....its everything you'd ever want from a Systematic release and more.'

Justin Martin - 'Zack definitely sounds like a fun track to me.. Looking forward to trying this one!'

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of 'He Was Human And Belonged With Humans'. The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014. Dalhous first announced its existence in 2012 with the Mitchell Heisman 10', and last year released its debut full-length: An Ambassador For Laing. Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement. Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While 'Information Is Forever' and 'A Change Of Attitude' are firmly in the ambient mode, 'Active Discovering' fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of 'Sight Of Hirta'. Something is up. All is not as it seems. The Regis remix of Ambassador highlight 'He Was A Human And Belonged With Humans' finds Karl O'Connor in unusually pensive mood. In fact this near-beatless, dubwise version is unlike anything he has put his name to before. Discarding the rhythmic skeleton of Dalhous's original, he gives their weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure. It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

Ladies and gentleman, we would like to introduce to you; Nachtbraker (Dutch for Night Hawk). This energetic dude from our hometown might not be a familiar name to you, but don't let that put you off. If you're into the darker shades of deephouse with a serious chunk of funk, have a listen to this. Gute Laune is the track that really captures Nachtbraker's style in all its facets. It starts of modest with basic percussion and a nice bended pad, but when the bassline comes in, every element in the track makes your head bop, ass shake en smile grow. The real kicker is the changeover where the long pads makes way for a set of filtered stabs that give the whole track the energetic vibe it deserves, without going overboard. The whole track just exudes the detailed way Nachtbraker produces his tracks, and we love him for it. Bluebottle is a wholly different animal. This track keeps a lower pace with a crunchy pad and mysterious synth setting the tone. With a lovely ever-changing bassline, a couple of changeovers in the percussion and a clever gate-effect on the pad, don't be surprised if you find yourself humming this tune several hours after the first listen. Last but not least, there's Xantippe. Xantippe is hard to classify because of it's two-faced character. What starts of as an atmospheric broken beat dreamy tune, jumps into a raw burner after the break with a haunting buzzy loop. Bassface-WTF-material for the after hours. Nachtbraker delivers a quality EP that is definitely one for the heads, more than for those in search of peaktime bangers. We're excited to share this solid slice of deephouse that represents everything we started the label for: Great music, no matter where it's from or who made it. Sincerely yours, Lars & Maarten

Hot Casa Records reissues Disco Hi-Life, a real treasure album composed and interpreted by Afro-Soul maestro, Orlando Julius. Comes as delux 180 gramms vinyl with tip on jacket & inserts with interviews & photos. Check!
Following up to the 12inch release (HC07 / 2009), here comes the remastered version of a real mindblower piece from 1976 including four unreleased tracks, all recorded with the best Nigerian musicians, between Ginger Baker' Studio in Lagos and the American Star Studio in West Virginia, USA.
Orlando Julius Aremu Olusanya Ekemode was born in 1943 in Ikole-Ekiti, Nigeria and can be considered as a main figure of the Afro-Soul music history. One of the first African musician to get signed on a 'Major' label (Polydor), he delivered many hit single as a composer and effortlessly performed live as a tenor sax and singer. He worked and met with some of the 'greatest', such as Louis Armstrong, James Brown (for his Nigerian tour with Bootsy Collins), The Crusaders, Gil Scott Heron, or Hugh Masekela.
In the middle of 1975, just after they finished the recording of The Boys Doing It' album with Hugh Masekela, they all flew to Ghana and Lagos. It was holyday and Orlando had also plenty of time to focus on his own songs. He wrote 'Disco Hi-Life' in Yoruba and 'Children of the World' in English. And he immediately planned a recording session including 12 finest musicians, such as the great singer Dora Ifudu Avery, Adelaja Gboyega on keys, Kenneth Okulolo on Bass guitar, Butley Moore on drums, Fela's collaborator Tunde William on Trumpet, and also Ade, who helped sang 'Love Peace & Happiness'.
Originally released by Nigerian label Jofabro in partnership with the UNICEF association for the 'International year of the Child', it was only available in few promotional quantity... here comes the very first official reissue of this dancefloor masterpiece!

Freestyle Records is immensely proud to announce the release of this new single from new signing Kalbata & Mixmonster - Prisoner In Love, which is taken from the forthcoming stunning album Congo Beat The Drum.


Kalbata & Mixmonster went into their home studio ago in Tel Aviv, Israel with the purpose of recording a 100% analogue dub album in the spirit of the late King Tubby and the early dancehall era of the late 70's and early 80's. A 16-track tape machine and an old analogue mixing desk were their main instruments, with musicians playing live all throughout the album.


A year after recording the instrumental backing tracks, they travelled to Kingston, Jamaica and started tracking down their favourite singers and deejays from days gone by. The stunning and totally authentic results evoke the heyday of Jamaican music - and on 'Prisoner In Love' legendary vocalist Little John, regarded by some as the first dancehall vocalist, hits just the right feel on this mellow, down tempo number. His voice floats alongside the ethereal piano and on the money drum patterns and deep bass lines perfectly.


On the flip - special guest Kutiman drives the CRB organ on this instrumental version excursion of Prisoner In Love - proper old school JA style!

An uber cheeky and rather fat 45 that combines two of everyone's favourite soul shufflers and expertly lays them down onto one massive piece of wax.

Any Soul and Hip Hop aficionado's worth their salt will instantly identify both elements to this...

Eddie Kendrick's 'Girl You Need a Change of Mind' (One of the greatest records of all time) and Q-Tips 'Vivrant Thing'.

Redmo starts things off with the infectious piano line from Eddie Kendrick's classic and proceeds to tease all before him chopping up both elements to produce a seriously tasteful Mash up of the highest order.

On the flip we have the dub version and with both sides mastered down with some serious love and affection this will be a sure fire hit on them there dance-floors in 2014.

With a self-proclaimed goal to showcase newcomers as well as established artists, Melodymathics hands out their 'second punch' with a killer track by Detroit veteran Gari Romalis. Gari is at the forefront of the Detroit techno scene, working close with Terrence
Parker, Mike Banks, Cliff Thomas and labels such as Tresor, Transmat, Soma and many more. His productions clearly show that his 30 years experience Dj'ing made him realize what works on the dancefloor. 'The Web' on Melodymathics Ltd.002 is a sublime example of soulful keys combined with funky rhythm, resulting in the ultimate Dj tool.

Our new talent 'Barce' was discovered in Spain and sets the tone with his 'SP' track for a possible lifetime relationship with Melodymathics. Barce's music speaks parts of his life and relfects a musical image of his soul. 'SP' brings deepness to another level in this release, with a manipulated organ chord - hypnotizing you throughout the whole chord -
and a story being told on top with various snares, dope basslines and sample work.

The traditional endless grooves, provided byThe Melodymann, are a nice addition for any Dj who wants that little extra..

Dj Feedback

SEAN DEASON (Matrix records)

Very nice! Smooth deep and funky as hell! Great work!

ROBERT OWENS

Great EP, would be nice to play.

SAMUEL JAMES (Elektrosouls Recordings)

One of the deepest releases of the year. Melodymathics is definitely a label to keep an eye on !

JULES WELLS ( KMS, Submerge records)

Great, I love it !!

RENNIE FOSTER (Transmat / Rebirth )

Sick

BEN SOLAR

Great Stuff

FABRICE LIG

Great EP, so deep !

TITONTON DUVANTE

All tracks are solid! Really like the way the Gari Romalis track builds. The Barce track is

cool in the second half. Expect some deck time for this one..

DONNA BLACK

This is DOPE!

SEBASTIAN SAN

Good stuff, Deep as i like it !

DIMITRI ANDREAS

Nice smooth and deep, Like it !

LA WILLIAMS (Peacefrog, DJAX)

PUREEEEEEE DETROITTTTTT ! Richard Pryor sample classic

PAT LEZIZMO

Vraiment Bien !

SATORE (Hizou Deeply Rooted House)

Really nice Ep!

AUBREY

really good .. like it.. deep moody stuff !!

PETE HOWL

Deep & smooth, great package! love it

ANAXANDER

'wow, strong EP, proper dancefloor killers'

BERNY GARDIN

Interesting, can feel lot of infuences, style!

ANDREW DUKE

Veteran artist Gari Romalis brings the heat as expected; both Barce's original and the

remix from The Melodymann hit the spot. With these 3 tracks all in my bag, Melodymathics

Ltd keeps bringing the goods.

DEEP MOVEMENTS LABEL

Instant support, will play for sure !

OLIVER KAPP (Indulge, Raygun Records)

Very nice old school vibe..... love it

Traversing with an understated technical assuredness, the ambitious shapes of Steely Dan, the popping lounge funk of McDonald era Doobie Brothers, the sweet mourning of the Stylistics and Delfonics, and the exquisite song-craft and flawless harmonising of CSNY, Daniel Collas (The Phenomenal Handclap Band), Bart Davenport and Quinn Luke aka Bing Ji Ling have recorded an absolute darling of an album under the name Incarnations. They are three friends with enough musical guises, side-projects, collaborations and production jobs to fill the annual itinerary of your average musician twice over. When three CVs like these get together on a regular basis, it's only logical they speculate and hypothecate on the possibility of an album together. But, how to make those congested diaries synchronise? Bart lives in Oakland and Quinn and Daniel are in New York, all three of them are on tour for the better part of the year. One sunny day in Madrid, Spain, a plan was hatched and a proposal was made. Lovemonk, a small, eclectic and affable Spanish label, dangled the carrot that clinched the deal; 'find two weeks between gigs/productions/recordings and head down to this little place we know in Tarifa, Southern Spain'. A family-run studio, in a house 5 minutes from a wild beach and a short ferry ride from the coast of Africa; the perfect ambience for the fleeting melody and sultry grooves of the Incarnations debut album, "With All Due Respect". Arriving with bits and bobs of half-songs, grooves and melodies, Daniel, Quinn and Bart, sketched and improvised their way to the most intensely evocative songs you'll hear this year. Punctuated by a day trip across the water to Tangiers, all 9 songs were written and recorded inside a fortnight in October 2009 and laid to rest while our protagonists jetted off to their respective diary appointments. Whether it was the beach, the soft weather, the fact that you can smell Africa from the studio, the home cooked Spanish food or the relaxed environment of the recording room, when the band returned to the songs at a New York studio earlier this year, they found an album as fresh and resonant as the moment it came into being. Quickly mixed down with no over-dubs or re-records, "With All Due Respect" captures the combined gifts of Tarifa and the three very talented friends that paid a visit. Incarnations are: Daniel Collas: DJ, drummer, organist, and one half of production team Embassy Sound Productions, the minds behind The Phenomenal Handclap Band. Plays - drums, percussion, organ and synthesizers. Bart Davenport: Collaborator with Greyboy, General Elektriks and The Phenomenal Handclap Band; Singer-songwriter with The Loved Ones, The Kinetics and Honeycut, and most recently a touring member of the Kings Of Convenience. Plays - guitar, bass and vocals. Quinn Luke a.ka. Bing Ji Ling: Part of The Phenomenal Handclap Band, one half of DFA recording artists Q&A and long time member of Tommy Guerrero's band; Solo artist on labels Ubiquity and Lovemonk among others. Plays - guitars, keyboards, vocals The band are named after Encarnacion "Nini" Sagrista, owner of the recording studio in Tarifa, who housed and fed them during their stay.

clear vinyl pressing!
Soundtravels Recordings proudly presents "Point Of View Part 1". We have compiled six contemporary, electronic bombs from artists all around Europe.

For some we didn't have to travel that far though...

The Hagues Baz Reznik provided us with "Nightdrive To Stuttgart", a moody, sinister track with that typical raw Reznik sound and a melody that will stick in your head for days after you first heard it.

Amsterdam based Arctic Boogie boss Endfest came up with another killer, "Von Heijden En Verre". Almost ten minutes filled with frosty synths and arctic melodies, accompanied by an ever present, very sophisticated 303 which peaks halfway the track, shivers!

Our last, but not least, Dutch contributor is Rotterdam based Louis Guilliaume who you might know from several straight forward techno releases on various quality underground labels. "Promiscues" is a rough edged, energetic track which fits somewhere between Detroit techno and Dutch Westcoast elektronica. At the end of 2013 he will release the "Unknown Forces EP" on Soundtravels.

Okay, now we fly all the way over to Croatia for Le Chocolate Noir with "Futu.e Is B.ight". A short but powerful EBM track with vocals from the man himself. Dark industrial mechanics accompanied by a threathening bassline, but no need to worry... cause Futu.e is B.ight! In 2014 he will release his first EP on Soundtravels.

Next stop... Düsseldorf. After discovering Dircsen's tracks we definitely had to have him on board. The first result of that can be heard on his astonishing "Aspiration EP" (Soundtravels 003). This guy keeps on producing his solid, high quality electronics and shows us his love for the TB 303 machine in a brilliant way. "Exist" is actually a downtempo dubtechno track but off course it has a fierce 303 all over it. Timeless again. Early 2014 his second EP named "Acid Wheel EP" will be a fact.

New to our family is the Russian Neotnas. He makes his first appearance with "Rewind". Typical for his sound is that warm, organic feel all over his house and dubtechno productions. Very often accompanied by female vocals and it's almost like you hear somebody play a live instrument if you listen carefully. At the end of 2013 he will release his "Slow & Steady EP".

After a superlative EP from Chicago's DJ Rahaan, Dublin's Fatty Fatty Phonographics is back with another installment of Pablo and Shoey's 'Rejigs', which have had support from the likes of Hot Toddy, Bicep, Get Down Edits, Leftside Wobble, House of Disco and Rub'N'Tug.

'No Good (Start The Jack) sees them take on Kelly Charles' 'You're No Good', a late 80's New Jersey house bomb and source of the infamous vocal hook from The Prodigy's 'No Good (Start The Dance). After one of the great 80's dance music clichés - an intro where some sassy mama gives her boyfriend shit down an old school telephone line - they go straight for the jugular with that big big hook, spinning the whole thing out for 10 minutes with lots of hypnotic piano loops and large chunks of the great song at the heart of it all. This is one that the crowd will be immediately singing right back at ya at 2am!

'Gonna Get Ya', meanwhile, goes for some Greg Wilson 'Edit The Edit' style shenanigans, taking on Barna Soundmachine's sly, slinky funk loops. The Barna man's original had a whole heap of Diana Ross' vocals from 'I'm Gonna Make You Love Me' at the centre but never let rip with the big hands in the air chorus. The lads have rearranged it here so it's alot less teasin' and alot more ease-in!

The 3rd track is as important to Pablo and Shoey as it is to Moodymann, so 'Funky Rump (Tribute To MCA)' pays tribute to the sadly deceased Beastie Boy by looping up some busy jazz drums from 'Paul's Boutique' and splicing it with a very fitting in concert tribute from the one and only Flava Flav of Public Enemy. The full track, when it eventually arrives, is a relentless clav funk monster that just keeps going and going....

WAX CLASSIC is a brand new SKYLAX Sub - label.For our 10th release, we give you the opportunity to grab 4 fantastic trax done by one of the best deep house producers in UK right now : OLI FURNESS !Oli had underground electronic music firmly embedded into his life during the early warehouse scene that thrived in Manchester during the 90's, the sounds of Detroit and Chicago filtered through to the UK and his love of all things house was born. Fast forward a decade and Furness has obsessively built up a strong collection of analogue hardware and is now steadily building a legacy of his own analouge drenched and intelligent House music."Sklyax has been a hugely influencial label for me growing up, some of my hero's reside on this label so its an honour to be able to sit beside them with this release

D-Edge are proud to present "Black Belt", the stunning debut from one of Brazil's most important figures.




D-Edge Records are proud to present Black Belt, the debut
album from Brazilian DJ, producer, club and label boss Renato
Ratier. After emerging with some already impressive EPs, the
time has now come for a full artistic statement that spans 17
tracks of slo mo electronics, deep house ambiance and tripped
out, disco inflected grooves.
Rather than this being a collection of dancefloor tracks, its
more a carefully programmed journey that takes you up and
down through many different moods and grooves, but all of
them untied by Ratier's analogue textures, unfamiliar hooks
and futuristic melodies.
Opening with the found sound recordings and muffled ambiance
of 'Love Me Tokyo' the album goes through the funky licks of
'Jamaicanese', the well-sampled 'Midnight Sun' and freewheel-
ing deep house and ethereal melodies of 'Teatime'. The latter
half of the album points more towards the dancefloor with the
title track's knotted bassline, the deep and spaced out house
hypnosis of 'Fetisshu' and plenty more besides. It's a stunning
debut from one of Brazil's most important figures.

We call them the rat pack of our beat scene. With all diversity in sound, the three producers are unified in their love for dope beats and high-proof drinks, both catered and consumed with style and expertise.

Suff Daddy, the globetrotting gin connoisseur and minimoog player with domiciles in Berlin, Düsseldorf and Sydney. He has released three solo albums and has worked with artists like Miles Bonny, Fleur Earth, Ta-ku and Elzhi. After a one year stint in Sydney, he returned to Berlin this spring.

Brenk Sinatra, the Wien-Kaisermühlen homeboy, Westcoast rap fanatic and producer of the forthcoming MC Eiht album. Last year Brenk released the critically acclaimed S3 album together with US singer Miles Bonny and has laced beats for an armada of MCs from both sides of the Atlantic.

And last but not least Dexter, the Stuttgart based trip maker and platinum producer with a day job as a pediatrician. This June Dexter released his second solo-album 'The Trip' a homage to the psychedelic rock era and one of the most innovative and genre bending hip-hop albums of 2013.

All three first met at the Hi-Hat Club, the producer series that we started a couple of years ago with the goal to push and celebrate the art of beat making. With their respective volumes 'Suff Draft' (Suff Daddy), 'The Jazz Files' (Dexter) and 'Chop Shop' (Brenk Sinatra) each of the guys put the instrumental hip-hop thing on a new and different level. None of their beats need a MC to be complete, they are full songs in their own right.

The official birth date of the Betty Ford Boys was the 2012 Beat BBQ in Cologne where Dexter, Suff and Brenk performed together for the first time. Right after the now legendary gig, that was ended by police forces Suff Daddy left for Sydney so that most the recordings for the Betty Ford Boys debut album took place in the cloud. Right after his return to Berlin, the Boys jumped on the bus and played their first club tour which finished with a gig at the Splash Festival.

On August 30th, the Betty Ford Boys release their first album 'Leaders Of The Brew School' on Melting Pot Music. The record combines the best of three worlds and has a surprisingly chilled Westcoast vibe. It's perfect summer music, it's edgy and relaxed at the same time and keeps you thirsty for more ....

Steve Lee's (The Project Club) ABOVE MACHINE label returns after 003's massive 'Love Disguise' from Vendetta Suite

This fourth release comes courtesy of acclaimed Italian duo Almunia
Their celebrated output through Paul 'Mudd' Murphy's Claremont56 label, including the recent superb Pulsar LP has seen the their blissful & uplifting Balearic sound
expand and evolve beautifully.



One Time is a gorgeous slice of the same, and conjurs up gentle sea breezes and long summer days perfectly


The ever essential Craig Bratley, whose All Ears distributed Magic Feet label has provided some of our best output, alongside recent hit 'Obsession' on Weatherall's Bird Scarer imprint takes charge on the flipside here.
Craig takes the melodic motif's and vocal parts and weaves a trademark synthed out & acidic chugger of epic proportions. Sure to be belting out across the Adriatic this summer
Andrew Clarke - whose been making an impact with a selection of cuts on labels like Audio Parallax & Chopshop - wraps it all up with a truly amazing rework, managing to retain all the stunning musicality of the original, but elevating the elements to euphoric new heights.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.
*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.
*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.
*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

Brodanse´s 'Danse Club Records' returns with another 90`s New Jersey gem reworked for 2013 with remix duties this time going to Just Be, Lula Circus & Chubby Dubz ... Danse Club Records, the label started by DJ/production sibling duo Brodanse has made a sterling start so far with releases of classic 90`s US house cuts remixed by the likes of Matt Tolfrey, Oliver $, Moodymanc & Brodanse themselves.

The reaction has been outstanding at a time where there is an obvious embracing of all things nineties and DJs such as Danny Tenaglia, Maxxi Soundsytem, Seth Troxler, Huxley & Dusky have been queuing up to lend their backing. For their latest release Danse Club look once again to New Jerseys historic shores, this time picking up an old record from US soul house duo The Burrell Brothers and drafting in three hot production acts to rework this much loved tune.
To start the package we have the original "club dub" version, giving an insight into the records history with it`s mid nineties feel and production still standing up wonderfully.

The first of the remixes sees Crosstown Rebels and Get Physical artist Just Be AKA Matthew Bushwaka deliver his"Insomniac mix",
a bumping slice of underground house music that marries a bass driven groove, organic percussion and subtle melodic elements with snippets of the vocal to supreme effect.

Next up we have Italian production duo Lula Circus whose releases for the likes of Culprit and Noir have been creating quite a stir. Here they deliver a brilliant rework of "Non Stop" in the shape of a deep old school house workout that makes the most of the soulful vocals with its simplistic, hypnotic backing. With its timeless quality, this mix is certain to be mainstay in DJ boxes for months and years to come.

The penultimate version sees the excellent Chubby Dubz offer up an outstanding mix that cuts and pastes the original parts in a raw house style. Closing the package there is a bonus dub of Just Be`s Insomniac mix that rounds things off nicely. This is another winning package from the Danse-Club label and with original artist material from Brodanse in the pipeline alongside further remix packages there is much to look forward to.

Unxpozd presents the 4th project from Dj Aakmael, 'Aak of Noise EP', giving you a straight up dance floor heater from the start! Up first is 'Just a Track pt 4' for the vocal heads, featuring classic vocal snippets that are sure to heat up any room large or small. 'Lush' is on the more chill side of the groove, giving listeners that warm, deep fuzzy feeling with a hard kick and smooth bass that matches the flow with ease. On the flip, 'Untitled 81' is an old-school style, Aakmael gives us a nostalgic sounding piece of art that also has nice dance floor potential. Closing the project is 'Soul of a Woman', that originally was a vocal track, however, now screwed and chopped as Aakmael decides to share this gem with the world. All tracks once again offers something for the hardcore listener/collector, and of course the DJ's that have a love for classic deep house and vinyl!

Alex Font is a serious guy who knows that now is his time. A multi-instrumentalist, as well as a producer and DJ, he can sometimes be seen on stage in trademark shirt and bow tie. He declares himself a lover of vinyl and, above all, what he calls real house. I think that says it all.

'NOW IS MY TIME' is the fifth release on the Oblack label and is available in black vinyl and digital. It is undeniable proof that Alex Font has arrived and is now a permanent force on the House scene, mainly in soul and dance, but who also knows how to reinvent his sound using new tech. Always with an eye on the future of sound innovation, he still manages to keep hold of his roots and respect his great influences. Well, nothing less would do. On this EP you can tell that Alex Font (remember, this is one serious guy) knows what he has in his hands and spinning on his turntable. His knowledge of musical composition, harmony and engineering skills jump out at you as soon as the first beat of 'Now is my time' hits the speakers: darkness, sophistication, soul and groove. There's a perfect command of tempo, of where, when and how. You pick up on the instrumental skills which allow him to do what he wants, when he wants. That's what's so great about this: you're struck by the ease of how such perfect technique and astoundingly good taste come together. Digitally analogical (or is it the other way round), this is the deeply profound vs. the dancefloor. It fascinates and liberates, carrying you off through different dimensions before breaking out of itself, with no need for artificial fanfares as it's so perfectly defined by Chicagoan pianos, hi-hats, funkoid vocals, etc. He's simply extraordinary: Alex Font signed by Oblack 005.

The remix by Martinez gives this track a technical edge and club splendor. Leaving out the more classic elements of house that are present in the original, the Swedish producer slows things down so that it doesn't lose any of its elegance, but at the same time the track gains punch on the dancefloor, and there's no doubt that it works. As cool as it is effective at inciting dance and everything else that comes with gyrating your pelvis in the early hours of the morning.

Finally, the Argentinian Shall Ocin plays the scoundrel here by adding diverse electronic elements that take the track into a new dimension. By giving the vocal more prominence, here it takes centre stage, and over a well-layered tech-house base, it makes the tremendous savoir faire of the original literally surf, while at the same time respecting and completing it.

In the end, it's great that you know that this is your time and that you want to share it, through Oblack and on vinyl, with all of us. Thanks comrade.

Unxpozd presents the third Dj Aakmael project - Breathe Deeper, which is a testament to Aak's amazing and captivating style of house music.The main track Breathe Deep takes you back to the 'golden era' of house music, giving you that raw sound with Esq once again on vocals. Untitled 79, for those who love their music old-school and classic but fresh this is for you. With a phat deep bass, lush chords and keys throughout, this one is sure to please the deepest and most mature househeads. Lastly to close, Aakmael continues his dubb series with Dubb 2, continuing to pay homage to one of the sounds that caught his ears' attention so many years ago. This track is a little more trancy, very deep and has that meditative vibe all deep house heads look to escape to.

Boris Werner is known for producing quality music and filling venues with crowds who can't get enough of his energetic and inspiring sound. These are a couple of the reasons why Boris Werner stands with us here today and proudly presents the Slow Dancin' EP, and we think you are really gonna love it. Strings and a relaxed rhythm user in the title track, complete with ambient vocal samples. Then, all at once the bass hits and the kick fills the void; instant groove. A jumpy synth dances over the track and invites friends to the show. Before you know it you've got a full track on your hands. Don't be fooled by the title, as it is indeed misleading. There will be no slow dancing to this gem. 'Missing Out (Dedicated to Ed & Emma) is a bit deeper, but with a warm feel (e-piano on reverb). Then, like 'Slow Dancin'', it catches you off guard with the beat. This is a feel good track, perfect for evenings, deep nights, and early mornings. Not to mention some of the years last open-air festivals. 'Did It In Miami' opens with caution, an indecisive kick with other percussive elements slowly build into an invigorating tech house beat. Grimy vocal samples creep in and the bass line slips under the beat, holding up the track well on a packed dancefloor.