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ZK Bucket lives in his own universe. His Universe is called ZAUN and with Concierge he is now no longer alone there.
"The EP is produced on a minimal setup: Jupiter 4 & Minibrute
on a 4-track cassette Recorder and comes in a hand printed Sleeve."Resup" is a controlled stomping chaos with reverb drowned Stabs - this opens the water for "Kon Tiki Sinkt", a hommage to explorers and death. "Grounded" supports the robots with its marching drums and "Fasen" wraps the package in an almost warehouse-fashion." ZK Bucket

Cassette includes a free downloadcode - redeem via Bandcamp
After their latest release on Kitball Records HANNE & LORE are now back on their own Imprint HEULSUSE. The catchy Maintrack HUSHLE is kept in total HANNE & LORE style and drives its way euphorically into the head; rolling drums, hypnotic lead sounds, funky vocal snippets and an almost cheeky groove make HUSHLE to a true peaktime track. BEBETTA is throwing a dazzling remix of HUSHLE onto the dancefloor, full of tmospheric frequency and warmth between the FX sounds and soft Chicago claps. HANNE & LORE are turning down the speed by slipping LOST IN RIMINI, a crispy 80s house track, into our little Italo Disco.

Virginia-born singer/songwriter Nicole Wray has everything you'd want in a singer: an infectious Jackson-5-family-member flare, a range like Aretha's, and a church upbringing that's brought a pure, healing texture to her voice. But the struggle she's been through has made her more than a singer. Nicole Wray is an artist. When talking about Queen Alone, her first solo album in some time, Nicole explains, It's a reflection of my soul. It's who I am today.' And aptly so. Nicole is writing and singing songs about her life. And yet to even start to know her soul, you have to go back to the beginning. Growing up in Portsmouth was tough at times for Nicole. However, at the age of fifteen, life opened up quickly when Missy Elliot paid a visit to Nicole's family home to audition her on the spot. Missy was there on the rumored strength and quality of her voice. Instantly blowing her away, she signed and left with Missy that night. Two years later, at age 17, she had a hit gold single off a solid debut album (Make It Hot). Suddenly she was part of a team that included late '90s R&B and rap royalty: Missy, Aaliyah, Ginuwine, Playa, Timbaland and Magoo. She made it, and fast. However, as rapidly as she achieved success, Nicole then found herself needing to re-make it. By late 2001, her time with Missy and company had run its course. They amicably parted ways and Nicole, once on top of the R&B world, was unsure of what was next. It was a very low, but important, point in her life. While neck-deep in this struggle, Damon Dash and Roc-A-Fella Records called. They signed an album deal and by 2004, in what was starting to be a pattern, just as things were looking up Roc-A-Fella suddenly (famously) split. Nicole found herself in a familiar situation. In 2013, Nicole paired up with London vocalist Terri Walker and released the album Lady. Once again, Nicole was tested. Terri parted ways with the group to pursue her own projects shortly after the album's release. Fast forward to now-the transformation from singer-for-hire to pure artist is evident in this new full-length solo release, Queen Alone. The record was written and recorded in 10 days at the legendary Diamond Mine Studios, in Queens NY with Leon Michels and Tom Brenneck handling production. Nicole says she is Singing out loud now-singing from the stomach.' Back in 1998 she was coached how to sing, and told to stay in a pocket that never let her show her range, power, and passion. Today, after stutter-stepping in and out of the industry, there is a new soul and substance to her songs-all of it from her life. They Don't Hang Around", tells the story of her post Roc-a-Fella days, Guilty", is about her brother's incarceration, Make Me Over" tells the relatable story of being broke with expensive taste, and 'Let It Go', a perfect way to end the record, is about the simple act of letting go and moving on. Almost echoing her new record, Nicole says, You have to go through something for it to be real.' She has been living with one foot in fame and the other in real life. The result is clear: she's feeling something real in her music again. And it's hard for us as listeners not to follow suit.

"After almost 20 years of making tracks with blaringly loud kicks, you tend to start producing with the other elements first to give yourself a break from the constant pounding of monitors at point blank range. Following an analog filter shopping spree, I began working on a group of tracks where the low end was satisfied by the filtering, and realized these songs worked just fine without a bass drum. Therefore this record is called "Rareforms" since most of my other work consists of a kick drum and lots of loud effects. This record is dedicated to the brilliant synthesist and interpreter Isao Tomita, whose records always provide inspiration in the lab. Also to master storyteller Rod Serling and his frequent collaborator Bernard Hermann, whose score for the Hitchcock film Vertigo I adapted through some MIDI processes and wavetable synthesis, then sent it through a 4-foot spring reverb." - Phil Moffa

Garofano Rosso's triumphant return to Giallo Disco comes in the form of his debut album 'Titoli Di Coda'. A bloodied trip to the microcosm of a doomed city, a neon-noir at the corner of Gordon & Cole, where old cellar doors slam like gated snares and justice comes with a bullet. In between krautrock funk, straight up-crime solving disco and instrumental ballads almost gothic like in their epicness, the artist also known as Giorgio Luceri, whose releases on Mathematics have been turning heads for many years, births this daring and impressive debut that we're immensely proud to release on Giallo Disco. Art by Eric A Lee.

The Erefora Land" is the first solo record by Johan Kaseta, Lehult founding member. It's a nostalgic, hazy affair where the tracks work both on a dancefloor and as the score to an imaginary Super Nin-tendo RPG. Squelching vocal samples ("Hi!") and bubbling synths are reminiscent of the oldschool, synth-laden nineties game soundtracks young Kaseta still can't get enough of. "The Erefora Land" is like coming across the soundtrack to Earthbound after having forgotten to have ever played it - suddenly a rush of sights, sounds and smells from the past come back to you and gently pull you in. Kaseta takes this nostalgia of the forgotten and puts it into his very own context: shuffling hihats, missed drops - a playful version of house music. Swept up to the shores of Erefora land, you're greeted by "Lei Tindissima". A seductive, blistering track on the verge of falling apart yet always staying groovy and pumping. Being somewhat ambient and airy, yet relentlessly moving, "Erefora Steps" is not just a charm to listen to, it is also one hell of a weapon in the club - tested by yours truly intensively. Grooving on a broken, somewhat latin type of bounce, there are several twists and turns between heavenly pads, psycho-vocals and, of course, echoed airhorns.The third cut, "U Timmi", is a laid back Sunday afternoon jam. Despite being light, smooth and grooving, it's layered samples and micro melodies draw you further into the mysterious sound world of Erefora land.Finally, "Me times U" could almost be the theme tune of "Erefora Land", it's blissful chords so close to a conclusion yet always behind a veil of waterfalls, trickling shakers and swooping filters.

In the lead up to their 5th year as a label Music is love celebrate by continuing their infamous VA series the 'LOVEBOX'. Sticking to the winning formula of a hefty double vinyl package comprising of 8 tracks from 8 top artists, this time they have some familiar people alongside new faces to the label.
Kicking off the package in fine form is South London's prodigy Wbeeza and his track 'Bodyman'. It's as if this track announces the the opening of the VA with its beat-less and thickly textured opening... when that beat drops you know your in it!
Label main stay Jamie Trench is up next with his track 'Oil Spill ', this sees Jamie veering away from his tech house roots, delivering a quirky house track laced with an almost footwork groove.
On the Flip we see more new additions to the MIL roster as Ingi Visions ( Samuel Deep & Julian Alexander ) drop Nauyaca, a deep druggy track, with the kind of hypnotic flow and delicate arrangement the pair have become known for. Liam Geddes finishes up the B side , fresh from dropping the previous release on Music is Love his track 'reach out' continues to stamp his unique sound on the label.
And it don't stop...
As we reach for the second vinyl in this double pack we are greeted with a familiar site in the shape of Dutch duo New Jack City. 'Pick Me up' is everything you want from a NJC track, big, bumpy and beautiful.
Mak & Pasteman counter with their very cool track 'U Said', the boys are in serious form at the moment and this track is no different. Slick drum workouts decked out with Juno licks, what's not to love.
The final side welcomes another new act to the stable. Am Unit present their track 'Bang Dat'. With 'Bicep' style production values echoing throughout this track and THAT break, this one will be big.
Closing out the final track is label boss, Oli Furness. 'Broken Summers'. A huge 808 rave workout. Broken beats and sub rattling kicks are the setting for this track, finely polished electronic music for those with a fondness for rave.

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

It's been five years since his acclaimed debut 'Severant' and time has proved it prescient, its futuristic trap influence is now ubiquitous. 'Slow Knife' seems to return to where 'Severant' left off, but with the intricate sound design of last year's haunting EP 'Assertion Of A Surrounding Presence' subsumed into the compositions, making them more exacting and beautifully crafted. Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. 'Slow Knife' has the subtlety, ambition and pacing of a brilliant soundtrack - a sense of an album of scenes, that easily lends itself to an impressionistic narrative. But, as with 'Severant', the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. 'Slow Knife' is almost two albums, the first half, according to Kuedo, invokes the seduction of the city, taking the music of Michael Mann's 'Manhunter' as a cue, with the latter half being inspired by the bloody starscapes and voodoo wilderness of films such as 'Angel Heart', 'Night Of The Hunter' and more recently the 'True Detective' series. Both halves of the album are also in thrall to Mica Levi's inspiring 'Under The Skin' soundtrack, especially in the turbulence of the mid-section. The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. 'In Your Sleep', perhaps surprisingly, features the vocals of Hayden Thorpe from Wild Beasts, who settles his dark, whispered vocals into the moonlit shadowy atmosphere. 'Floating Forest' is the first track to allow back some of Kuedo's experimentation with the Southern rap template, which he explored before it became commonplace, with echoed drum splashes and a sinister repetitive motif, ending with a haunting growl. The second half of the album enters wilderness territory with 'Approaching's slow descending notes, before 'Broken Fox - Black Hole' throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker (from Lumisokea). 'Breaking The Surface' shivers and coils, before metal and strings dominate while 'In Your Skin' feels like being lost in a vast hinterland before 'Warmer Light' introduces some memories of sunshine, with its plucked bassline and spiralling dub. 'Halogen Light' opens with the sound of crickets and a clear piano, cleansing the soul before 'Lathe' brings things down to earth with a short, yet powerful coda.

Aussie rare groove ensemble Kerbside Collection's second album of instrumental funk and jazz grooves "Trash Or Treasure" (released May 2015) gets the remix, rework and re-use treatment with a variety of re-interpretations with everything from downtempo hip- hop/neo-soul and dusty analogue lounge beats, to fuzzy, Balearic electronic club workouts and even some broken beat flavours.Kicking off this limited edition 12" vinyl, AV artist/DJ/Producer Sampology lights up the sitar disco vibes of "Strawberry Fields" taking the track into sizzling Balearic, club work-out territory with added afro percussion, squelchy wobbles and effects, perfect for summer festivals and hazy end-of-night vibes. Vinnie Laduce's follows with his cruisy vocoder and lo-fi indie beats reconstruction of "Shake 'n' Bake", while another local Brisbane producer TwoDee (who also appears on "Mind the Curb" remixed) delivers an eighties, electro break flavoured re-work of 'Rabbit Hole'.Side B starts JNBO (The Cactus Channel bass player) and his unique wonky, analogue and quirky touch to the title track for a fuzzed out, analogue electronics burner for fans of Floating Points, Cro Magnon, Dabrye and Dimlite (bounced to tape no-less for added bump!). Closing in on this special vinyl is Kerbside's drummer Paprika who takes the coastal groove of 'Bogangar' to the afro side with his 'Mountain Air Afro- dub', recreating a low slung, Tony Allen styled afrobeat groove with added melodic movements and dubby effects, while he adds another remix taking "Trash Or Treasure" into future jazz/broken beat territory with added percussion, moog bass and a surprise heavy change up at the end, almost reflective of some classic Fat Freddy's Drop!

Digging deep into the annals of Gospel now, the name Pastor TL Barrett should be familiar to the eagle eyed crate diggers amongst you. An extremely "colourful" character from Chicago's Southside neighbourhood who found himself on the wrong side of the law for his involvement in some activities of a dubiously illegal nature, more importantly, besides this the pastor was widely known for his community activism and positive sermons preaching love and responsibility. Shady past aside, this fantastic 1976 LP entitled "Do Not Pass Me By" is a real Gospel beauty and features 8 tracks of resplendent hands in the air rejoicement. Having never been reissued before this rare as gem is finally back out in the open, complete with it's incredible untampered with sleeve artwork and design. Barrett's unique voice and message is timeless and instantly recognisable, you can't help but become one of the congregation whilst listening to these wonderfully rousing and positive paeans to the lord almighty. Saying that, even if you find yourself to be a non-believer, the soul, funk and jazz stylings (with the odd flourish of synth!) the good pastor is laying down will be equally as alluring to those of you who dig those particular sounds. "Do Not Pass Me By" was originally released on Miami's TK Disco offshoot Gospel Roots, it's the Pastor's second release on the label and is a beautiful snapshot of how things might have gone down at his "Mount Zion Baptist Church of Universal Awareness". A unique LP with with a somewhat lo-fi charm, the tracks contained run the gamut from slow, downtempo ballads to roof raising, danceable Disco-esque anthems.
This is the first time that "Do Not Pass Me By" has been reissued on vinyl, fully remastered from Gospel Roots/TK's original tapes, represented the way the the LP was issued in 1976 with all original cover and label artworks intact. Now, almost 40 years after it's original release the album has now been made available again for 2016, fully licensed in conjunction and with the full permission of Henry Stone music / TK Disco, Miami, FL.

Next up to close out a hefty year of DJ-Kicks releases is one
Daniel Avery, bringing with him two exclusive new tracks and
a host of techno heavy goods. In his own words:
"To me, the most appealing thing about electronic music is that
it requires time and patience to fully enjoy. It's about becoming
lost in the repetition and the atmosphere. The warmth of the
kick drum.It's important to remember to take a breath in this world. The studio and the club can offer similar experiences in that regard but it never feel like it's running away from things. It's almost the opposite: it's in those moments where we stop that we can feel the most alive.We're constantly being told that modern generations have no attention span but it's simply not true. There is more out there to distract us but we have not changed as humans. Kids now want to go and listen to a DJ play for ten hours and become locked in their world. A mix CD, like an album, is designed to be listened to from beginning to end. It's something I still firmly believe in.

The Tiger is back - finally on full length again! The second studio album for Tiger & Woods not only marks a desired return to a specific format, but is also a huge leap forward in their area of expertise: their brand of fun and functional dance music gets broadened by influences from electronica, italo disco and up-tempo house, while keeping a groove that is distinctly linked to what some people refer to as boogie. After travelling the world from left to right and from top to bottom with a live-set to boot and skilful DJ sets that resemble that genre melting approach, "On The Green Again" is the result of spending valuable studio time at the "Tiger's Lair" - a carefully-built new work place that plays its own part in the creative process of one of the most prolific production teams of our days, while simultaneously starting T&W Records for all sorts of adventures that are linked to Tiger & Woods, but not narrowed to a specific sound. See "Unleashed Tapes Vol. 1" for further reference. A double A-sided 12-inch that owes as much to disco as an influence as it pays homage to the funkier and brighter sides of house and techno. Honing a craft that is rooted in edit culture as an ethos, but has since long left that bumpy road dependable on samples and their clearance, T&W make "On The Green Again" work as the second album that defies the difficulty usually attached to such ventures. 10 brand-new tracks (and three previously released bonus tracks on the CD version) make up the course between peak-time prime cuts similar to "RockMeLoveMe" or "Come And Get My Lovin" and an almost heart-aching track like "Endless Affair". Mixed with bits and pieces in-between and neatly placed between a classic intro and outro segment, those tracks are testament

Following their album SAVE! AKA COLDER & MUTADO PINTADO are back on DLM, with another deadly attack! Kamikaze style. We've been waiting a longtime for an I-CUBE remix. We've been fans and friends since his debut and we love that he strayed from his more technoey recent work, as great as it is. This is full on psychedelia, almost rock in its approach. A trip, not a track. Russia's great hope (not Ivan Drago), LIPELIS, hot on the wheels of his MacDonald Flack And The Ack-Ack Pack Pack remix delivers two radicals/tangents. Police & Robbers. They fly high, both in their own manner. RAINY MONDAY is dubbed out in space with that "jungle screw" feel. Slowed down breaks that are all the rage with the yoof, apparently but LIPELIS takes it to another level. Last floor his version of DARKNESS IN THE MIDDLE is a trickster, you'd think almost ambient kraut before you end up on an italo-piano-expansives beach.

It has been almost 6 years since our last release on our sub-imprint Supérieur, which was reserved for special and very unique tracks needing a special placement.
Lars von Licht's "From Arrows" is exactly one of thissort: An almost 15min live jam, both simple and sophisticated. A track for special moments and for special people, perfect for reanimating Supérieur. One of the frst persons whom I gave this tune last year's summer was Lee Burridge, who played it straight away
at Burning Man.
Admittedly, this release took some time, but wewanted to fnd the right moment and the right remixer. We considered many options but came back to one of our own people in the end.
Dodi Palese who released his Connaisseur debut earlier this year, felt like the right person to challenge this track and we were right. He has transformed it into a tribalistic high energy bomb, with an
unexpected, big synth theme, blowing you away.
Yes, we are more than happy about this release and it was well worth the wait.

Xerophkz is back with a second EP on the self titled label. The second release furthers his journey into uncompromising, expressive electronic music, and there is a lot to choose from on this record. From lush ambient electronica and emotive synth driven soundscapes, to frantic almost rave influenced techno and abrasive textural show stoppers this release represents a fresh and unique counterpoint to the popular structures and formats of modern techno. With only two releases to date this artist is already one to watch.

Given the underground acclaim heaped on Marie Davidson's previous albums - ultra-stylish affairs that blend elements of minimal wave, dark Italo-disco, off-kilter electro and moody ambient - it's little surprise to see her popping up on Minimal Wave offshoot Cititrax. The album's nine tracks are largely sharp, rough and fuzzy, with sparse-but-dense drum machines rhythms underpinning bouncy, delay-laden synth lines, thrusting electronics and Davidson's sleazy, spoken word vocals. It's an attractive combination that guarantees thrills throughout, from the almost claustrophobic throb of "Denial", to the mutant electrofunk bounce of "Good Vibes".

First complete Sonic Youth album is one of Thurston Moore's favorites. Includes live cover of The Stooges' I Wanna Be Your Dog'. Vinyl includes digital download. Originally slated to be a 7' to follow up their self-titled debut, Sonic Youth's Confusion Is Sex blossomed into the band's first album: a brain-bludgeoning, completely fried endeavor of dissonance and disarray, a perfect soundtrack for running from a chain-wielding gang near the SIN Club. This was the sound of 1983 New York City, nothing like the jangly roots of college radio rock starting to formulate in Athens, Georgia. It sounded like no one else on Earth, for that matter. The raw, Wharton Tiers 8-track production is dark, the Kim Gordon- scrawled cover figure art of Thurston Moore is dark, Lee Ranaldo's back cover photo-collage and Catherine Ceresole's crumpled-xeroxed images that adorned the inside are dark. It's an album that moves Sonic Youth forward from their first EP almost by devolving backwards into true ugly, lo-fi primitivity. The bareboned arsenal of junkpile guitars and implementation of alternate tunings was growing, and so were the songs that matched the individual attributes of each instrument: certain ones groan and growl a specific way that the band started to realize itself could become the compositional germ of a song. Herein is the threshold of a new explosion of the band's creativity, replacing the comparatively cleaner buzz of the Sonic Youth EP with guitars that spew fractured, uglier chunks of sound everywhere, held down by menacing minimalist basslines (actually played by Thurston on half of this LP, and for the only time ever on Protect Me You,' Lee) and the brutal-yet-controlled metronomic drumming of Jim Sclavunos, augmented with replacement drummer Bob Bert's notable bashing on Making the Nature Scene' and grotty no-fi live rendition of I Wanna Be Your Dog.' Hearing the crashedwindow intro of Inhuman' and subway-brake screech of The World Looks Red,' you can attest that while Sonic Youth's guitars are not quite yet being utilized in the totally controlled, lyrical fashion seen later on albums like Evol, Daydream Nation et al., they were well aware of the colors and tonalities that were unfolding and the possibilities presented. Also, they were getting a grasp on adding colors to the chaos with tempered, simmering moments like Gordon's Shaking Hell' and Renaldo's chimy, home-taped Lee is Free.' Making the Nature Scene' and The World Looks Red' even toss in glints of hip-hop vocal approach way ahead of its time, albeit through a blender. While its confrontationalism might have put off some critics, time has rewarded Confusion with a truly distinctive air and atmosphere in the Sonic discography, enough to have Moore declare it his fave along with the band's swan-song The Eternal. Brian Turner, WFMU.

The third Cachai LTD comes from the Russian heavy weight Tripmastaz who almost single-handedly has been making Russia decidedly more funky over the last 10 years.