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After his successful debut album SUPER VATO (CÓMEME CD LP 01) from two thousand eleven, his highly praised mix CD MOMENTO DRIVE (KOMPAKT CD 117) from two thousand fourteen, and all-around mayhem during his adventures as one half of the Pachanga Boys, Xalapa's finest REBOLLEDO returns with his second solo album MONDO ALTERADO: a recollection of moments and experiences from recent years, colorful mnemonics encompassing the brightest and the darkest. The result is a kind of soundtrack for a movie that doesn't exist, a sonic journey designed like a mixtape that faithfully reflects Rebolledo's background as DJ and producer. Nine tracks connect for one overarching narrative, sharing elements, motives, details as they blend together. The artist's signature can be found all over the place, roaming between straight, rock-drenched drumming, sinister atmospheres, raw synth textures, exciting peaks and foggy bottoms - but always following this kinetic flow and drive which is such a big part of Rebolledo's compelling charme.

All Tracks Written and Produced by S3A
Mastered by Kuniyuki Takahashi

This house project, based on the idea that electronic music is a blend of different cultures and music, started 15 years ago when Max began jamming on analog machines and samplers with different projects from techno (FriendShip Connection) to house (S3A).
It is through this project that he expresses, among other things, his taste for soul and House music. Such as his beloved artists MCDE, Floating Points... he uses the process of sampling as a basis to color his music with sounds of all his inspirations, he always add his own touch and groove to get his own vision of electronic music: dynamic, warm, emotional and dirty.

Although he discovered electronic music in 92 through UK hardcore with DJ as Tanith or Producer, his culture is based on a solid knowledge of house music, soul, funk, hip hop, making him one of the most promising house artists of the French scene since 2009.

He first came to Paris with Zadig to realize his childhood dream: building a studio and later collaboration, Frendship Connection (All is just a matter of time has actually been playlisted by Marcel Dettmann).

His residency at Concrete helped him to confirm his DJ position since the last 4 years adding as well releases on Lazare Hoche Records, Hold Youth, Concrete Music, Local Talk, Phonogramme and Faces. With these releases, his remix for Laurent Garnier on Music Large and his booking request from the French legend to play with him for his residency at Rex club and Concrete, gave him legitimacy and visibility in all over Europe.


In 2014 he decided to make his own label Sampling As An Art Records and focus on finding new-blooded artists and release his very personal music. A perfect definition between underground quality emotional house music and dancefloor efficiency!
In 2015, he released a collaborative EP on Uncanny Valley Label with Max Graef and Cuthead (whom released S3A RECORDS 03 the same year), made his first live representations and currently continue to spread his vision of music.

he second time around: fred p aka fp-oner is back on mule musiq with another record that demonstrates the many cosmic qualities of his deeper shade of soul.
it is the second part of a trilogy that features his detailed sonic landscapes that are full of mystery and power. while his last fp-oner album 5' was leaning more to the jazzier, relaxed and atmospherically side of his artistically deep house expressions, the runner-up grinds even deeper into spherical worlds that enhance deep meditative highs.
they are not made for club use only. in fact all eleven compositions work also massively without big speakers. again the new york city native that is working on his very own music for almost 20 years produced a journey inwards that is compelling, mesmerising and enchanting.
you find cosmic dust in it as well as dark entropies, percussive power, sweet seducing melodies and rolling bass power that shakes your inner and outer profoundly. the tracks are listening to names like awakening co creator', alternate reality' or adjusted perception' and the album title 6' stands for a meaning,
that fp-oner describes like this: 6 represents the number of man and his or her limitations, weakness and imperfections.
this body of work examines and looks towards one awakening. adapting to a new way of being creating an alternative and reaping a higher state of mind and being. enhanced by love and serenity, satisfaction and joy.'
all tunes are produced around the world, as he is a guy who never stops feeling in sound. that is why he caries his studio around to get up in the middle of the night or right in the morning after a sweaty party to transfer his emotions directly into sound. the result is massively powerful music with slow, intimate passages for treacly melodies, stirring synth-lines and little rhythmical quaintness.
an almost lyrical house journey that works like a musical sculpture in which organic machine grooves float along keys on air. the evolution of the each track is impeccable and their power grows with any new listening session. fp-oner himself characterizes his art like that: 'my music is designed to enhance deep meditative, or altered states, to allow the listener to personally connect to the creator of all that exists in the universe.
my music style is to first create a foundation using cyclic, polyrhythmic music, then build several layers of improvised leads and rhythms that allows you to transcend time and space... we have memories of past lives that reverberate in our hearts like echoes from ancient caves'.
there is nothing more to add, except that those who do not know fp-oner so far should know that he danced in his younger years in legendary new york city clubs like the red zone, sound factory or tunnel to dj sets of larger-than-life selectors like david morales, frankie knuckles or danny tenaglia.
during those nights he learned that sometimes less is more. and that he should rather listen to your heart and soul, then to the susurrus of the music market. most of the eps and albums that he produced under his other monikers like fred p or black jazz consortium have been released via his very own label soul people music, which exists since more then ten years.
as fred p he also dropped 12inches on jus-ed's underground quality imprint as well as on toshiya kawasaki's mule musiq label. for the latter he now is working on a trilogy under the fp-oner alias. this little paper introduces the second part of it. the final one will hit your heart and soul in an unwritten future. whatever circumstances of life will be around by then: you can be sure that fp-oner will transfigure them into a dynamic emotional and spiritual terrain.

These are the second four in Soul Jazz Records' new series of seminal reggae releases from the iconic Studio One Records - back to back classic and rare tracks from Horace Andy, The Gaylads, Dub Specialist, Denise Darlington, Jackie Mittoo, Alton Ellis, Sound Dimension and more.
These don't hang around so get your pre-orders in asap please!

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

These are the second four in Soul Jazz Records' new series of seminal reggae releases from the iconic Studio One Records - back to back classic and rare tracks from Horace Andy, The Gaylads, Dub Specialist, Denise Darlington, Jackie Mittoo, Alton Ellis, Sound Dimension and more. These don't hang around so get your pre-orders in asap please!

These are the second four in Soul Jazz Records' new series of seminal reggae releases from the iconic Studio One Records - back to back classic and rare tracks from Horace Andy, The Gaylads, Dub Specialist, Denise Darlington, Jackie Mittoo, Alton Ellis, Sound Dimension and more.
These don't hang around so get your pre-orders in asap please!

Who would have thought that Gerd Janson and Phillipp Lauer, aka The Tuff City Kids, delivering a 'Rocker' mix for Alter Ego, wich is not only one of their best up to this date remixwork, but also probably one of the biggest electro-summerhits in 2016. The Tuff City Kids production work is quite similary eclectic like in Roman Flügel and Jörn Elling Wuttke's original version. They know exactly how to juggle with different styles, until they come up with a fresh new sound that transforms an ordinary rave into an unforgettable happening. In this case they are mixing real performed krautrockdrums, 90's prototrance-balearicstrings and an unexpectedly new, enthusiastic way of working with Alter Ego's trademark melodyhook. This melody-theme is dripping formally out of every programmed bass and synthesizer line without beeing to cheesy, superficial or over the top. Even their 808 electro-remix for the track Gate 23 is keeping to the premise of the legendary New York punk rock band The Ramones, that a good party track should not illustrate the effects of psychedelic drugs, the music has to be the pill itself. The rich details and playfulness of the mixes are showing Gerd Janson and Phillipp Lauer as real fans of the original versions.In the same spirit, they are trying to melt pop-appeal, art-sensibility and clubhit-function in one piece of vinyl.

25 years old, born, raised and based in Berlin, but all at home in the club. Nitam's debut Retold EP (U-TON 06) already set the tone in 2015, and here we are three catalogue numbers and 14 months later with his second 12 release on Unterton taking a similar line as his debut four-tracker did: new varied sonic themes with an overall fresh sound. Although still being young of age, Nitam outlines once again his interest in dance music from the late 80s and early 90s, presenting himself schooled by classic Detroit House as well as Chicago Acid House, but all without limiting himself to a restricted pallet of styles or catering towards musical expectations.

A1 starts off gently with Keen Insight' and its almost romantic, dreamy and hazy vibe - a mellow, melody-driven and emotional listening piece in the vein of Nitam's initial track Retold'. The following Perception' on A2 is a more functional and club-enabled cut, taking shape with an Acid-informed bassline, moaning syth pads plus claps and percussion here and there.

The flipside begins with Influx' featuring a springy, muffled yet muscular kick alongside a rising synth line. What at first feels like a tool track soon evolves into a more complex song format once the sustained string and oscillating melody kick in. The EP is rounded off by the eponymous Cancellate' and its almost Dubstep-like, placid rhythm progression and drive while being dominated by ceremonial synth pads and wraithlike keyboard speckles.

U-TON 09 once again shows the versatility of Nitam as a producer, a talent that is also being reflected by his ever-increasing interest in DJing.

Italy via Shanghai is the route taken for the debut E.P of Neapolitan producer Altieri, aka Eugenio Altieri. A designer living in Shanghai, Eugenio started to make music back in 2004, mixing music and visuals to create his weirdo production' sessions. After traveling east he founded the DesToys duo, a live project that channelled space disco and 80s commercial music.

Edo is a personal view over the modern Asia, Japan in this case. Inspired by the street sounds and bugged out day to day world of Tokyo his debut EP is four tracks of slippery head music. Chiseled from the deep seams of an intergalactic mine and informed by the dark heart of house and no wave disco this is club music from the oily underbelly.

'2 Minutos De Um Novo Dia' - pacey samba-funk-MPB that originally appeared on a 7' from 1969 released on Odeon Brazil. Soaring vocals, strings and horns over alternating full and half-time funk drum breaks. Very big indeed.

'Candomble' has been a resident in our DJ sets for a long, long time. A retrained, deeper opening section drops into drum heavy, rich uptempo jazzy-MPB. Super catchy vocal hooks and piano lines sit over the top from start to finish. Taken from their self titled album from 1975 on RCA.

To celebrate Kontra-Musik Records hitting the ten-year mark, founder and label owner Ulf Eriksson has put together a collection of some of our finest releases. This has been a daunting task, for we are happy to announce that we could easily have made several very different compilations that we would have been equally contented with - there are so many superb tracks we had to leave out. This has, however, been a labour of love. Much like the label itself. Eclecticism has always been a lodestar for Ulf Eriksson, as we hope this collection gives testimony to. The label has always been moving freely between techno, house and more experimental sounds. Kontra-Musik intends to show different angels of perspective, not to convert you to a new Religion or Ideology. Being open to a broad variety of sounds and rhythms - judging them not solely by their functionality but rather by their personality - has been the Kontra-Musik way from day one. While it has been a crooked and sometimes exceedingly hard road to follow, we're hoping to carry on for several years to come. After 10 years, the label still feels meaningful and current to us - in short: it's still worth it. Kontra-Musik would like to thank everyone - from contributing artists to faithful friends of the label who have supported us all these years. None of this would have been possible without you.

Canadian based label Eternal Drive Recordings is proud to present it's first vinyl release by Jay Zoney titled "Workhorse" with remixes by Audio Injection & Axkan.

This is the label's eleventh digital release and first to be cut on vinyl featuring two original tracks from label boss Jay Zoney. Jay's productions have picked up previous support from artists including Ben Sims, D.A.V.E. the drummer, Bas Mooy, Speedy J, Sam Paganini, Joseph Capriati and Gary Beck.

On remix duty is Los Angeles native David Flores, who takes on the EP's title track under his Audio Injection alias, where many people will also know him as Truncate. Between his two aliases this heavyweight producer has racked up an impressive back catalogue of labels including CLR, Mote-Evolver, Affin, 50 Weapons, Figure and Gynoid Audio to mention only a handful.

Also featured as a remix artist is Federico Sánchez aka Axkan originally from Mexico, now calls California his home. His dark, experimental and edgy sounds have landed his tracks on the likes of Morgan Tomas' Reloading Records to Israel Toledo's Assassin Soldier and many more.

First on the EP is the title track 'Workhorse,' which true to its name is steady and relentless. A kick drum that stamps like heavy hooves on concrete gives it a powerful sound. The fast flowing percussion is brought to life with startling rips and synth stabs that grunt with determination and grit. This industrial workhorse delivers the goods every time with expert precision and perfect timing.

The second track is titled 'Mr. Ed' shows Jay Zoney's acid roots. Industrial like the first track, it's hard hitting with a rolling acid line that wriggles and twists as the track progresses. It has an intensely powerful clap with sharp hi-hats and a shuddering bass sound that when combined give it an infectious throwback groove.

Third on the release is the Audio Injection remix of Workhorse, and although dark like the original, it's less industrial overall. Opting for his own spacey percussion and bassline David (Audio Injection) creates a rolling groove packed with forward momentum. With the addition of a half bar synth hook and rising pad sound, this remix is powered by a prominent off beat hi-hat which makes it both hypnotic, euphoric and menacing.

Finishing off the release is a rework of Workhorse by Axkan whose rippling remix is both eerie and mysterious. Loaded by a grinding synth sound which echoes round the mix to create the feeling of open space, his remix starts off four to the floor, but with an unexpected shift morphs into a more broken rhythm. Building in intensity, this pulsating masterpiece has mechanical qualities and a truly individual sound.

Two tracks from a brand new (second in a row) EP by Warsaw-based duo Tumult Hands fully illustrate paradoxical approach of Jacek Sienkiewicz and Jurek PrzeŸdziecki to the creation of a common integrated form. Spontaneous compositional decisions and minute sound interventions are contrasted here with a persistent precision of rhythms generated by both musicians in a reality of an inter-studio' space, in moments of an encounter - sometimes, fully controlled collision - of two worlds. Full of inner rigour and logic (record is a prime example of modern functionalist music), although teeming with fantasy and flourish, Tumult Hands' current explorations also announce duo's full-length LP, soon to be released through Recognition Records.

TOM And His Computer is the newest alias for Copenhagen favourite Thomas Bertelsen. He started out as a teenager by looping and creating beats on his 4 track tape-recorder. Since then the very talented producer and DJ has been around the block. He produced two albums (with Lulu Rouge) and a number of songs, edits and remixes. He has also been DJing alongside Trentemøller every now and then since the early days and most recently TOM And His Computer performed live on the opening slot of Trentemøller's latest live tour and lately at Sonar Copenhagen 2015. Now we are happy and proud to present 'Small Disasters', TOM And His Computer's debut EP on Anders Trentemøller's label In My Room! Mixing elements as disparate as electronica, lo-fi guitars, driving beats, vocals and cinematic soundscape, this EP is a perfect example of why TOM And His Computer is tipped for big things in 2016. What maybe can be described as 'alternative electronic music' unfolds in different nuances. The lead track 'Organ' rides along on a crunchy rhythm track while throwing in psychedelic organs and howling electronics. Fizzing guitars weave in and project a paranoid undertone. Next up is 'Girl A Go Go' and its raw driving beat and bass hits in without any warning, before an agressive, hypnotising surf like guitar-riff comes in. Layers and layers of dirty distortion build a colapsing, overdriving climax. 'Tectonic' keeps the dark energy flowing, but packs it into a slow crawling creepy setting, drenched in reverb and noisy layers. Fraser McGuinness contributes the otherwordly vocals. Is he moaning Or conjuring Or proclaiming The song evolves from a fragile, fleeting feel into a massive, 'tectonic' pressure and all the way back. 'La Fountaine' completes the EP with another cut that perfectly fuses diverse elements from across the musical spectrum

Phoebe Killdeer & The Shift is the collaboration between newly Berliner Phoebe Killdeer (Nouvelle Vague, The Short Straws) with experimental musicians Thomas Mahmoud-Zahl (SFX, The Nest, Tannhäuser Sterben & das Tod, Von Spar) and Ole Wulfers (Kapaikos, Party Diktator), supported by actress and singer Maria de Medeiros (i. e. »The Saddest Music in the World«, »Pulp Fiction«).

»The Piano's Playing The Devils Tune« is »free music« in a most emphatic sense: The interplay between the abstract instrumentation on the one hand, equally recalling genres as diverse as noise rock, bass music and musique concre`te, as well as the intimate, concrete humanity of the sound on the other hand establishes a sprawling sonic space that gravitates around the haunting vocal passages of Killdeer and de Medeiros. »The Piano's Playing The Devils Tune« thereby succeeds in combining a decidedly experimental gesture with an urgent, uncanny familiarity and warmth; a precise sense of composition with an almost lavish casualness.

Phoebe Killdeer & The Shift do not resolve the numerous paradoxes that mark »The Piano's Playing The Devils Tune«: The result is an equally challenging and rewarding album that in fact — as played out as this predicate may be — truly defies categorization. Devils tunes.

Infuse drop their first 12" of 2016 which sees Howl Ensemble take the reigns for a fine 3 tracker. Nexus is a bottom heavy warehouse groove with Plexus providing able support with its deeper aquatic style whilst Sexus rounds things off with an altogether trippier experience.

Alex Arnout's vinyl debut on Infuse finds the London based producer in fine form. Title track Primal drifts along on warm pads with a fresh female spoken vocal with 6 Million Ways offering up a dancefloor roller.
The flip side sees This Beat offering up flecks of acid with Alex's trademark tight production whilst label head Enzo Siragusa and Seb Zito provide a tidy alternative take of primal to round off the ep....

Tapper Zukie is not only a successful recording artist in his own right but a well respected producer also.
In the mid 1970's he set up his own record label Stars to help nurture the many artists who were rising in Kingston,Jamaica.
In doing so he created a great catalogue of Reggae music that few artists have bettered.
For this release with the help of Tapper Zukie himself,we have picked the highlights of the Star label to make this great album.
All the artists are stars and all the tracks shine....
Hope you enjoy the set.....

A sweet groover from the Italian scene of the 70's - music that's got a lush feel, but a funky one too - a great mix of strings and electric instrumentation that rivals the best cop/crime work of the time - yet also has a nice sexy feel too! There's almost a blaxploitation vibe to the record at times - and although some instruments solo at points, the real groove lies in the tight vamping of the orchestra - which hits all the right notes to really send the whole thing soaring - often with a nice use of tone and color too!

Following two EP releases on Delusions Of Grandeur the time felt right for thatmanmonkz to get working on his debut LP. The Sheffield b-boy is no newcomer to production having been releasing music since the mid-noughties but has seen a definite rise in interest the last few years following essential releases on his own Shadeleaf label as well as remixes and productions for the likes of Classic, Kolour LTD and Kon's StarTime.
With his first musical love being Hip Hop it's easy to understand how his approach to house turns out so refreshing. Inevitably MPC's, big, bold samples, Jay Dee inspired grooves and a raw, underproduced sound all play a big part and never one to shy away from an interesting collaboration he has enlisted the skills of several vocalists including Detroit MC Ta'raach (whose credits include Slum Village and Jill Scott), Erik Rico (collabs include Ron Trent and DJ Spinna), Khalil, Dave Aju, Pete Simpson (as A Brother Is...) and Malik Ameer.
Things kick off with a low-slung soul jam entitled Air featuring Kahil Anthony complete with sparkling Rhodes arps and a dub-wise bassline underpinning a beautifully lazy groove. Jus Anutha Wunna Deez follows with a rough and ready house jam that clearly doffs its cap to those old Sound Signature and Mahogoni Music releases we know and love so much. Next up we have Boogie Down with Erik Rico rocking some Parliament inspired vocal business bringing the feelgood vibes to this rolling P-Funker. Some Ol' Nex' Ish goes for a jazz samba meets house fusion whilst A Fly New Tune goes strictly old school with a classic combo of dusty break, filtered fusion rhodes n bass sample, movie dialogue snippets and a masterful flow delivered by Ta'raach. Dave Aju steps up next on Turn It Out laying down a unison vocal refrain to compliment the bumping disco groove complete with a call and response section for some singalong party participation!
As we continue, Another Night Under The Glitterball sees thatmanmonkz back in familiar territory with a rock solid, deep jazz-house jam. On I Can Hardly Breathe we're treated to a downtempo gospel-infused affair which leads us perfectly into the most bumpy club- friendly track of the LP For Bae. Moon On The Hill is a collaboration with Italian DJ Kali and his Raw Standard crew and treats us to some distinctly mid 90's Kruder and Dorfmeister vibes to zone out to before heading off in an altogether more bonkers, psychedelic dancehall direction on Vampires. Baked is another classy thatmanmonkz take on Hip Hop featuring Malik Ameer on the mic. Take U 2 My House sounds like something Prince might have made in the mid-80's if he'd just come off a 3 day bender at Panorama Bar. And closing the show in perfect style and fashion we have For Those I've Lost Along The Way which is a blunted yet beautifully optimistic number that has echoes of Lonnie Liston Smith and a brilliant spiritual vocal sample which provides the perfect closer to an amazing debut LP.

'Escape from Reality' as first track, goes down as a bleeping submarine, deep diving into underwater caves where a slow and hypnotic rhythm reverberates through ears and mind. Second cut 'Alchemy' continues the interdimensional explorations, and after long intro, it gradually detaches from the surface reaching a leaden sky. Drums and claps alternates on a soundscape of constant roars, holding the track in a steady mesmerizing jingle. The B-side opens with 'Found Myself', edgy broken beat with a stronger and more club-oriented dynamism which finds its best shot in the last cut 'Chain Reaction'. A ravishing synthline drives through tribalesque drums, snares and thunderclaps to close the record with a mystic vibe....

Newly established Berlin-based vinyl-only label Dreiklang dive straight into the physical world with First Contact. The label's distinctive triangular concept is reflected in its name with Dreiklang pursuing a three-fold approach to electronic music. Each release presents three contrasting takes on the same source material, juxtaposing and unifying three particular electronic music sub-currents. For their first outing, Dreiklang call upon an international team of producers with OCH, Hydergine and Kelovolt dropping in for their respective shots of tech-house, dub techno, and dark drone techno. The tight three-tracker will see the light of day on a 500 limited edition run of 180gr high-quality wax with the beautiful hand-drawn designs of Berlin artist Nils Altland gracing each sleeve, transforming the covers into individual works of arts. First up on Dreiklang001 is Londoner OCH (Autoreply / Stuga Musik), who takes a simple keyboard line into menacing territory, steering the dancefloor towards the grittier ends of tech-house. A funky bassline leads the way as distant synths exhale in glossy metalic fashion and the road is adequately paved for the reinterpretations that follow. Second up, comes Hydergine. The Italian producer lives up to his brain enhancement drug name by dropping a smart dub-techno rework where mind-numbing kicks bring the listener on an atmospheric joyride through the deeper ends of narcosis. Kelovolt complete the triangle with an immersive remix where drone-heavy soundscapes take center stage for a delicately hypnotic finale. First Contact is out December 16th on Dreiklang.

Die vierköpfige Band aus Ithaca (New York) X Ambassadors besteht aus Sänger und Gitarrist Sam Harris, seinem blinden Bruder Casey Harris am Keyboard, Gitarrist Noah Feldshuh und Schlagzeuger Adam Levin. Ihren bereits veröffentlichten EPs - Love Songs Drug Songs' (2013) und - The Reason' (2014) folgt nun ihr Debütalbum - VHS'. - Mir war wichtig, dass sich das Album insgesamt wie ein Film anfühlt', sagt Sam Harris. Wie in einem Film, geht es in den Songs um Bewegung, um Geschwindigkeit, um den Wunsch, irgendein Beziehungschaos und die Enge des Kleinstadtdaseins hinter sich zu lassen. Die erste Single - Renegades', ist bereits auf Hitkurs! Am Radio belegt die Single nur wenige Wochen nach Radiostart bereits #26 der Airplaycharts. In den USA chartete sie an die Spitze der Alternative Airplay Charts und der Triple A Radio Charts, sowie auf #8 der US Top 40 Radio Charts.
Die Single hat sich schon jetzt weltweit über eine Million Mal verkauft und verzeichnet über 45 Millionen Streams. In Kanada, USA und Italien wurde - Renegades' bereits mit Doppel-Platin ausgezeichnet. Die Band tourte mit Bands wie Imagine Dragons, The Lumineers und Panic! At The Disco und eröffnet im Januar 2016 acht US-Shows für Muse! Das Album erscheint als CD und Vinyl.l

The English blues rock band The Yardbirds released
their album Roger the Engineer in 1966. It was the
only Yardbirds album with all original material.
Although the record was officially titled Yardbirds it has
since its release been referred to as Roger the
Engineer, a title stemming from the cover drawing of
the record's audio engineer Roger Cameron by band
member Chris Dreja. Due to the influence of Jeff
Beck's experimentation with guitar distortion, the
album is considered a precursor to heavy metal.

This 2016 LP reissue features the bonus non-album
single Happenings Ten Years Time Ago b/w Psycho
Daisies at the end of Side B.

"Rise Above is an album that fell through the cracks - in 1992, records by singer-songwriters were more likely to be ignored than they were 20 years before in the early 1970's or would be 20 years later in the early 2010's. It was certainly critically acclaimed but unnoticed by the world at large. Time, surely, for these dozen classic songs to be re-assessed. (Chris Coleman)

"Rise Above is a work of pensive autumnal fragility and of such high quality, that it would be a monumental injustice to halt the fresh flow of Epic's muse." (Melody Maker)

"one of the "10 Best Albums Of The Year" (Spin)

" a gem out of left field....a bounty of delightfully anachronistic rock tunes here, in league with the best of Alex Chilton." (Billboard)

"....it's even Mr Soundtracks' version of Dennis Wilson's "Pacific Ocean Blue". People will come across "Rise Above" in ten years' time and wonder where the hell it came from. For now, here's the out-of-the-blue album of 1992." ( Select magazine's Andrew Perry)
"...the lyrics are well-crafted, the musicianship's flawless, the production is beautiful (and) the songs are melodic and emotional." ( Dave Thompson in Alternative Press)

· Clasic debut album by Epic Soundtracks reissued on vinyl for the first time

· Collaborations by Lee Ranaldo and Kim Gordon (Sonic Youth), J Mascis (Dinosaur Jr.) , Rowland S. Howard (The Birthday Party) and Martyn P Casey (The Bad Seeds)

· Insert with unseen pictures and liner notes by Chris Coleman

Following a summer of fifth birthday celebrations, Tom Trago's Voyage Direct label returns to action with a brand new 12' from Amsterdam scene stalwart Simon Weiss.
Although a new member of the Voyage Direct family, Weiss is no newcomer to the scene. He's previously delivered high grade EPs for Rush Hour, Deepermotions and Home Taping Is Killing Music, and his contribution to First Mission, Voyage Direct's fifth anniversary compilation, was one of the undoubted highlights of that set.

It's that track - the gloriously positive 'Tele-Vision', and it's cyber-house fusion of darting synthesizer arpeggios, Detroit-influenced percussion, and thrusting acid bass - that heads up Weiss' first EP for Voyage Direct.

Dutch veteran and longtime friend of the family Dexter turns in a stunning remix, putting a well-placed boot up the backside of 'Tele-Vision' via speaker-shaking sub bass, kaleidoscopic electrofunk motifs and thumping techno rhythms. It's a stunning re-make, and one that takes Weiss' fine original to even greater heights.

Flip the record for two previously unheard Weiss productions. First up is 'Ghost', a supernatural house shuffler full of alien synths, wayward melodies, intergalactic electronics and crunchy drum machine hits. Weiss flips the script slightly on 'Super Sub', pairing his now trademark vintage synthesizer refrains and tumbling electronics with a heavyweight, bassline-driven groove. It's a sweet and evocative track, but critically also packs a punch.

Dear Vinyl Enthusiast / DJ,

The tracks on this 2 X 12" received some special individual treatment which I hope you'll enjoy listening to or playing in your local disco as much as I did making the. Box Saga has been a firm favourite of mine for a good 20 years already and although it's baggy pants and loose groove is exactly why I love it so much I thought it would be fun to do a slightly different take on it.

Ü is a recent fave of mine but as the record is super long and has a very DJ-unfriendly ambient intro, I gave it a couple of chops and hope you're brave enough to bring it to the dancefloor where it belongs. The tracks by Joachim Holm & Alejandro Mosso, Actress, Hieroglyphic Being and Blacknecks are all quite sparse to begin with and with the approval of all involved you can now smile or cringe at these "Versions" where I "join the band" on some of my recent favourite records. Thanks to the artists and labels involved for letting me use their music.

After the Alma EP' by Shanti Celeste, secretsundaze' s 19th release comes from another UK home grown favourite Wbeeza.
Beeza is a firm part of the secretsundaze family and although it's his first release on the label, he has been a regular fixture at the parties now for 5 or 6 years playing at both the London events and touring internationally with Giles and James as a live act, as well touring extensively by himself.
We hope his music needs no introduction - his sound is quite simply fresh; an amalgamation of so many things from house, techno, jazz, hip hop to more UK leaning garage vibes. Born and bred in South London and the youngest of 6 brothers he has dance music pumping through his veins.
Black Moon EP is up there with the very best of his work and all 3 tracks show a level of maturity that comes from releasing over 14 EPs and close to 2 LPs (his second LP entitled Visions of Love drops next month on Third Ear)
Title track Black Moon is a murky, growling techno workout with syncopated lo fi beats, a thunderous bass line that is eq'd to within an inch of its life, and white noise FX. Within the right hands this should be a deadly weapon.
Like Butta is a hazy, percussive tool that keeps the tension high while B side track Ferguson is arguably the strongest track of the EP. Referencing the Ferguson case in Missouri that sparked vigorous debate about the relationship between the police and African Americans, the track is a timeless groove, coming on like a modern day version of Maurizio's 'M4' with its heads-down, hypnotic deep techno flow that one could simply listen to on repeat. Wbeeza on secretsundaze.....Need we say more!

Coming out of Amsterdam via London, Breach's Naked Naked imprint has been a platform from the globally lauded producer can launch club-ready material both from himself and his peers. Having previously released records from Maison Sky, J.Tijn and Viers - the next in an ever-reliable series welcomes back Church and 2020 Midnight Visions affiliate Lorca for his third outing on the label. Hailing from Brighton, Lorca has garnered a following behind several extolled 12s showcasing his intricate and spectral brand of UK Electronic music. His latest offering expands on this with three moody cuts that meld eyesdown melodies with sharp, lively drum structures. 'Creta Kano' kicks things off with ticking percussion scurrying over a rubbery, tape driven thud. Deft dynamics build depth in the mix as detuned and delayed synth lines interweave to stunning effect. 'Malta Kano' then sets more textures bubbling behind bright drums and powerful, melodic synth leads. The Alt version of 'Creta Kano' then brings things to a dark and purposeful close. Field recordings gently bleed in and out of focus while more glowing synthesis occupies the foreground. A warped sequence circles in towards the close bringing another insight into the chops of one of the UK's most dynamic and exciting young producers to a close".

Manchester based producer Sameed delivers us a very nice EP for the Skylax n°141. After his first weapon "Spend EP" on the swedish label Local Talk, he confirms here his taste for house music with "Ma'Thang". This new release is perfect to bring a dark and sensual amosphere to a warm up set.The first side begins with "Bad You", a perfect mix between a deep bassline, a mysterious background and soulfull vocals. The only element that kept you stuck on the floor is the raw clap. "No one else" is more focused on the beat and the repetition of the funky voice sample through the patterns. By using flanger effects, Sameed gives even more energy to this track, moving away from the keyboard softness. The third one, "Blue", could be the expression of what you hear while dreaming. We find again a mystic musical background but it is added to a very light melody, the sound of the sea and what seems to be whoops of joy."Hustle", the first track of the second side, is definitely darker and more nostalgic. Remebering us some Rick Wade sounds, the melody seems to confuse itself but keeps a clever coherence. The hi-hats manage to provide the sensation of speed and continuity all along the musical trip. "Watching U", is really about rythm and bass : the raw beat and heavy bassline deliver to this title all its identity. The jazzy notes and asexual vocals fit very well with this body oriented track. "Grg-Jam" is certainly the most particular element of this EP. Even if we can find the same kind of melodies as in the other titles, the beat is really different, remembering drum'n bass but in a very soft way. During this imaginative jam session, Sameed alternates the textures of the hats, bringing a frenetic rhythm to the conclusion of Ma'Thang.Sameed proves us that he is definitely a safe bet of the "Madchester" house scene. To be continued.

Jemek was never easy to read: Is he serious or is it all a
joke
With his new album »Jemek Jemowit is Doktor Dres« the one-man
band, DJ and conceptual artist that is Jemek Jemowit moves
between old-school rap, Southern trap and EBM, skillfully
mixed by the infamous hardcore techno legend Marc Acardipane.
Jemowit's anarchistic-dadaistic and often quite explicit
lyrics (there is a sticker on the front of the vinyl record
warning the listener of »swear words«) the, to quote the
artist, »post-patriotic« Jemek sings in Polish, the language
of his parents and in German, the language of the country he
grew up in, he studied in and in which he lives today.
On his last »hyper-patriotic« (Jemowit) EP »Tekkno Polo«
which came out on the Polish Label Oficyna Biedota in 2012,
Jemowit focused on Polish culture in Poland. On the Polish
market the Pole with a German passport, presenting music that
was recorded in Italy and which had used the Polish sub-genre
»Disco Polo«, the Polish equivalent to »Euro Dance«, as
template was an exotic. Subjects Jemowit touched were
national dishes like bigos or bizarre figures of Polish pop
culture. Was he serious or was it all a joke
Until today Jemowit finds it »remarkable«, without taking
sides, that Poles in Germany »so easily adapt, they seem to
merge into German culture so quickly«. On his new album
»Jemek Jemowit is Doktor Dres« which is released on the
Berlin-based label »Martin Hossbach« Jemek embraces the role
of the Pole in Berlin. In Polish, peppered with new word
creations and grammatical mistakes, he states that his alter
ego »Doktor Dres« (Dres is the Polish word for tracksuit)
leads a better live in Berlin that he used to do in Poland.
He often switches into the German language, too. In an
interview with label founder Martin Hossbach Jemowit said:
»I'm the perfect Pole in Germany who goes shopping at the
most expensive warehouse in West-Berlin, the KaDeWe, without
reproach and my German is pretty good, too!« He has now
become the person that »Tekkno Polo« reacted against with its
»hyper-patriotic« approach. Germany is now the sacred land
and on album track »Oryginalne Adidasy« he invites his fellow
Poles to come and visit him, he who »grew up between The Wall
and Moschino«, in Berlin and have Polish dumplings (pierogi),
made by Gucci at KaDeWe. »Endlessly bragging / Style without
class / Deutsche Mark / Oryginalne Adidasy« - this is Doktor
Dres' slogan and the read threat for Jemek Jemowit's new
album.

There is a purpose behind ambient music: it is utility music. Brian Eno made that clear. If we go by Eno's definition, the music on T.RAUMSCHMIERE's new album is not ambient. Although - or in fact, because - each individual track on this album immediately and effortlessly generates atmospheres, it is impossible not to be drawn in. T.RAUMSCHMIERE sucks the listener into the perceptible endlessness of his pulsating sounds, even though the music does not actually expect anything from the listener. It is not demanding, it does not sound lofty or ethereal. It is in constant movement and evolution while sounding grounded at the same time. The tracks are not weightless; they have body.

Dense, roiling drone show from Joe DeNardo, who's best known as Growing but, adopts the Ornament moniker to signify something altered from his usual practice. It starts out with a folksy sort of dissonance and soon starts to curdle and keen in fascinating formations. "Protest Music" is the first release by Ornament.

eddie c come back to endless flight with 2 brand new tracks and excellent move d remix!
title track on a side is one of the most danceable track from eddie c. it's simply floor killer.
on b side,"flying blue" is alternative disco stuff,it's typical eddie c sound.
move d remix of "la palette" is stripped version of original brazilian house track.
it's more dj tool for the fan of work shop or german deep house.
enjoy!

Please note this is not a new studio album but a compilation of previously released Regis productions and remixes for BEB, plus three previously unreleased cuts.

Don't be mislead from the name, the enigmatic M. Zalla, is one of the numerous alter ego of the italian maestro Piero Umiliani. Umiliani, during his period of fascination for psychedelic and electronic atmospheres, starts to compose a good number of musical portraits dedicated, as the title reveals, to the problems of his time. We are at the beginning of '70 and italians are worried by mafia, terrorism and social conflicts: so it has sense that the music choosen to represent this anxious problems has a sperimental nature, dark and disturbing a sort of unicum in the long and extremly productive Umiliani career.And if, in 2015, titles as Mondo in Crisi', Problemi Sociali', Azione Sindacale' and Mafia Oggi' sounds still sadly actual, it's even more surprising find that the music of Problemi d'Oggi' (Today Problems) is projected on the future, sounding still alien and uniques.
The record presents various styles: from Pink Floyd atmospheres (or Braen's Machine if you prefer...) to compositions characterized by a great use of drum machines and synthetizer (MOOG and Sinthy). We just have to listen the begginning of the opening track Produzione' to give sense to the words of Sean Canty (Demdike Stare) that defines the music the first techno/trance track of the history, but between the grooves of this vinyl it's easy to find intuitions that many other artist and musicians - from Residents to Aphex Twin and Four Tet - will be able to catch during their carrers.

Opening their doors every Saturday for mind-altering shock treatment, Power Station has been giving their raging punters a potent dose of megawatt reality. Their curatorial expertise has established an institution that will now extend the mythical energy generated with a record label in the form of annual limited 12"/digital compilations, grouping tracks that have already become the club's signature tunes. Resident, booker and co-founder Kris Baha finds himself on both sides of the inaugural disc, with the ball of confusion solo production 'Something Something, and again as Heavy Concern in collaboration with Otologic's Nick Murray, a name synonymous with the Melbourne club circuit being one quarter of the Animals Dancing massive. Young gun Disrute captures the optimum warm up set with the shape shifting slow burner 'Ka-Bu' while scene veteran and Haul Music boss Mike Callander discovers a new lab mutation of sci-fi soundtrack, damaged funk and cerebral house.

The second release on Modern Cathedrals includes an original mix by Altstadt Echo supplemented with remixes crafted by Donor, Luigi Tozzi, and Asop. The inclusion of Donor's remix represents a continued effort to link together the Detroit and Brooklyn scenes, while the Luigi Tozzi remix connects Modern Cathedrals to the ghastly, dark styles of techno that Italian artists have become so respected for. As a core member of the Modern Cathedrals team and a primary force behind the label's event series, Asop's remix is the very first public release of work by this incredible new Detroit-based artist.

But while the artist names change from record to record, the philosophy does not. We continue in a desperate attempt to generate meaning during the short spasm of a lifetime we are given in a world that seems to conspire to prevent this effort's realization. This situation might be inescapable, but through the rejection of complacency and dogma, we can approach our end with the bitter comfort that we were at least willing to be honest about our situation.

AUS Music continue to bolster an ever expanding roster in uncovering an adroit and overlooked producer - the Dublin born producer Timothy Blake. In amongst those in the know, Blake is an artist whose reputation reaches back over 20 years and one whose releases have touched the likes of Dirt Crew, Fatty Fatty Phonographics and Kleine Reise. For his first ever outing on AUS he teams up with man of the moment Marquis Hawkes in delivering 'The Stormy Search' EP. Now residing in Berlin, Blake's idiosyncratic productions have been described as 'joyous freewheeling Funk' by Infinite State Machine as sounding 'like Stephen King decided to start making house music' (Trevor O'Shea Bodytonic) and also 'kinda like some lost Prince demos from an alternate world' according to Golf Channel's Dan Selzer. That goes part way to elucidating his creations and - as you'd expect from these descriptions his latest offering is a meld of jubilant synth lines, bumping 909 drums and Funk-indebted bass grooves. Having originally made the introduction to Will Saul which eventually lead the record - Marquis Hawkes offers up a remix of the title track which he additionally co-produced. Also on remix duties of the title track - Hawkes does as he does best in dimming the tenor, driving percussion through purring tape machines and adding in the signature dose of granular soul that's been his calling card throughout releases on Dixon Avenue Basement Jams, Houndstooth, Clone and Créme Organisation.

Mbongwana Star is a newly formed band from Kinshasa, the capital of the Democratc Republic of Congo. Made up of a sprawling network of shanty-towns and night shelters, day-to-day life in the city is far from easy, but the band don't want sympathy. Tired of pre-conceptons around African music, Mbongwana Star ('Mbongwana' means 'change') are creatng their own identty, fusing traditonal Congolese rhythms with post punk and´electronics inspired by life in the townships around them,
'making magic out garbage' says producer and band member Doctor L (who produced Tony Allen's
'Black Voices' album). The result is revolutonary. This isn't an African band per se. It's a trans-global barrier-bustng sound
machine. '..an altogether unique vibe. We will be paying close atenton' - Boilerroom

KiNK (Macro/ Running Back)
I love this! All the tracks are massive! My favorite is the Andreas Gehm remix as it`s the most
weird one, but I`m a sucker for funky acid and this is right up my alley!'

Robert Owens (Chicago/London/Berlin)
Great tracks'

Tensnake (Virgin)
thanks, nice original and Gehm remix'

Dave Clarke (White Noise 2fm)
Dark and groovy'

Luke Solomon (Classic Music)
love love love love hard TON xxxxxxxx'

Tim Sweeney (Beats In Space)
Make me Dance is the one for me'

DJ T. (Get Physical)
thank you for the music!'

ÂME / Kristian (Innervisions)
thanks'

Mark Broom (UK)
FAT mix from Andreas! Respect for the UK!!!!!!!!'

Massimiliano Pagliara (Live At Robert Johnson)
bravi!!'

Mørbeck (Vault Series/Code Is Law)
Make Me Dance!'
Acid Washed (Paris)
MEGA GOOD!!!'
Patrick Pulsinger (Vienna)
love it!'
Angel Molina (Barcelona)
the ultra dark acidic 'Make Me Dance (Andreas Gehm Remix)' is my track on here, although
'Forget About The Music' is a fantastic 80 ´s house track as well. Thanks.'

Paul Woolford (Planet E/Hotflush)
2 thumbs up for the Andreas Gehm Remix. Many thanks!'

Renato Cohen (Brazil)
That's proper music! Forget About The Music sounds amazing. Andreas Gehm Remix is also
huge!'

Repress!

"Il corpo" is the last one of Luigi Scattini's trilogy, which started with "La ragazza dalla pelle di luna" (1972) and then continued with "La ragazza fuoristrada" (1973). Umiliani's music privileges jazz and funky moods, dominated by the Hammond organ and wah wah, alternated with languid and almost "sleazy" instrumental ballads. This soundtrack finds its strength in melancholy, but also in drama and tension.

Three mixes from the brand new Berlin based label/project 'In Love We Trust'.Classic New York house inspired for the A side opening tune, driven by an off partiture alto-sax unfolding over a throbbing bass, four to the floor beats and great message delivered by a strong male voice, followed by a slower tempo roller-skate, atmospheric, Garage inspired disco cut with a solid 80's style linn drum grove, catchy riffs and a powerful bass line.
Rougher beats and a more acidic vibe for the flip side, direct and effective floor stomper guaranteed to raise heartbeats.

Hlanganani Music proudly presents its second release from young fast-rising producer Deep Sixty. Although his name is little known outside of Soweto and Johannesburg, already Thabiso Mamogwa has shown the determination to reach beyond his immediate world and make his musical message heard. In 2010 he made it to London to take part in the Red Bull Music Academy, which is when the HLANG team first heard the tracks that make up the Mme Hayo EP. From the same momentous trip, Mamogwa managed to get into a studio with Todd Osborn (a.k.a. Osborne, Soundmurderer), resulting in the "Thursday Nights" track which Mamogwa has self-released.
The purpose of Hlanganani is to provide a channel for the talented producers of South Africa to present their craft beyond the limited reach of their own country, opening their music up to collaboration and cultural crossover in the process. With his tenacious attitude and distinctive fusion of African traditions and contemporary techno influences, Mamogwa represents the perfect example of what the label is striving for, hence they waited five years to be able to release Mme Hayo.

Hot on the heels of killer releases by label heads Ryan Crosson and Shaun Reeves, the latest Visionquest release sees the label turn its head to Deadbeat aka Scott Monteith. The Berlin based Montrealeler has been putting his own spin on house and techno for some time now, putting his stamp on esteemed labels such as Cynosure, Echocord and Wagon Repair. The Jacks EP continues his fine tradition of putting out discerning fare, as he conjures up a new EP package that remixes his classic track, Mecca Drum Track (originally released on Wagon Repair), from 2008. Striking in its many intricate and delicate production wares, it's a polished effort from the outset.

The Jacks EP gets going with the suitably titled ''Berghain Drum Jack'', a suitably raucous and out-there slice of tribal tech that pays homage to the Berlin club and is notable for its banking percussive elements and its propensity for surprises. Starting off on an unrelenting tip, it gets even more off-kilter the longer it stretches out, as the drums become even more pronounced and the baseline finally enters the fray. Dark but dexterous, it's a thrilling track that's sure to more even the most ardent and discerning of dancefloors.

Middle track ''Mecca Drum Jack'' sees the producer opt for a similarlly-inclined vibe, as the drums play a similarly pertinent role. A fitting tool with which to light up your set, it's more dextrous in nature than what's arrived before but another altogether engrossing effort. Rounding off the weighty three-tracker is ''Acid Dub Jack'', which sees Deadbeat really go off on a frankly mental course that's littered with atmosphere from the get-go. Once again, Visionquest and Deadbeat have reminded us why they're both so cherished in the techno world.

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

Tresor is proud to welcome Mønic to its catalogue.

Head of Osiris Music, Mønic is an accomplished producer based in the United Kingdom. His style can be dened as raw yet exceptionally rened, allowing for a certain industrial
inspiration to ooze from his productions and outstanding sound design.

'Parsons Hill' opens with tumultuous percussions that continue to escalate throughout the track as an eerie looming synth dances above the kicks.

Alternatively, 'Morse' reveals another side of the artist with a more serene attitude. Here, static passes through a magnetic eld with a constant palpitating bass. 'Hollow Victory' opens with thunderous clangs and a urry of ominous chimes that echo through the darkness swirling above a pulsating heartbeat.

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

Uber picked up this beautiful mellowed out pop song by Shining Bird for a vinyl release after becoming totally captivated by its warm laid back Balearic feel. Shining Bird hail from Austinmer a coastal town just south of Sydney, Australia. They are a collective of friends who got together over their love of the sea, Australian cinema, Dennis Wilson's "Pacific Ocean Blue" Lp and the great Australian poet Henry Lawson. The second track Stitzing/Wipeout is another great alternative pop song in the same vein as Destroyer with the song blending into a 5 min piece of psyched out ambient. On the flip side Coyote remix Distant Dreaming into a horizontal percussion led dubby contemplative trip with pitched down vocals and a throbbing bassline. Uber continuing its crusade of finding and releasing music that captures their Balearic ethos.

Kevin Saunderson's Detroit-based imprint celebrated its 25th Anniversary back in 2012, and the label's continued to cement its legacy with key vinyl reissues over the past couple of years. The recent campaign included Saunderson's Just Want Another Chance, the track which contains the "Reese" bassline—rivaled only by the Amen break as a formative element of drum & bass—as well as '90s releases from MK, Kreem (Saunderson's duo with Juan Atkins) and Chez (Damier) N (Ron) Trent.

The two remix compilations dwell on Chez N Trent versions produced during the 1993 through 1995 period, when they released enduring originals like "Morning Factory" and "The Choice." Volume One contains remixes of Sonya Blade and Miller/Scott Project while the second EP includes Damier and Trent's versions of Kreem as well as Saunderson's seminal vocal house group, Inner City. Chez N Trent's takes on Naomi Daniel's "Feel The Fire" and Essar'ay's "Forces" are also included.

5th anniversary of Hubert Daviz' 2010 masterpiece - Proceduri De Rutina' including second vinyl with remixes by Max Graef, TBRCK, Dexter, Wun Two, Hulk Hodn, FloFilz and Hubert Daviz!

Fasziniert von der Dynamik elektronischer Tanzmusik und der ungeheuren Kraft und Reichhaltigkeit von Live-Instrumenten, schufen Chris Davids und Liam Ivory, aka Maribou State, mit "Portraits" ein unwiderstehliches Album. Es ist ein Album, auf dem sich Organisches und Synthetisches umarmen und an James Blake oder SOHN erinnern und dessen Groove es durchaus mit dem von Moloko aufnehmen kann. Maribou State setzen uns atmosphärischen Dubstep gepaart mit House und einer gesunden Prise Pop vor - "glitchy, sad and slow" (The Guardian), aber ungeheuer tanzbar und garantiert aus der Mitte des Herzens kommend. Die letzten 18 Monate des Duos waren strikt getaktet: An den Wochenenden wurde wild durch die Gegend getourt (von England, Europa, den USA und Australien war alles dabei, die Bühnen von Glastonbury und Bestival waren nur zwei der Meilensteine auf ihrem Weg), während man sich unter der Woche disziplinert den Albumaufnahmen widmete. Bei Radio-Schwergewichten wie Zane Lowe oder Huw Stephens schaute man auch vorbei und werkelte ganz nebenbei an einer schönen Palette von Remixen für "alte Hasen" wie Kelis, Lana del Rey oder den Crookers. Die harte Arbeit zahlt sich mit Erscheinen des Debüts nun endlich aus.

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

Recorded in a Bunker somewhere in the ancient basque region, Sagas of Subterranean life is a collection of 5 sagas that are heavily influenced by Scandinavian life and European culture in general. Showcasing a versatile collection of 5 bits that range from moving distorted house jams to synth blops and violating techno, ''NORSE'' is not just a collaboration between soul notes head honcho ''Kastil'' and Rotterdam based ''Gitchell Moore'', it's also a project that tends to avoid genre-restrictions and box thinking.

Odd Sequences X Violating Drum Patterns X Palindrome Titles = Sagas of Subterranean life.

SUPPORTED BY:
RODHAD, DAVE CLARKE, DEEP SPACE HELSINKI, ARNAUD LE TEXIER, STRANGER, ASAN REGAL, EXIUM, RAIZ, HECTOR OAKS, VIKTORIA, EKSERD, XHEI, GREY PEOPLE, TOM TRAGO, PAUL MAC, POSTHUMAN, PHOTONZ, JONAS KOPP, DVS1, TOMMY FOUR SEVEN, BAS MOOY, EOMAC, RUB-N-TUG, TENSNAKE, RANDOMER, EL TXEF A , FABRICE LIG, LAST WALTZ, PERTHIL, DENITE, TRUNCATE, DARKFLOOR, DEEPBASS, BLEAK, NX1, KLANKMAN, LAURENT GARNIER, MARCEL DETTMANN, HEKKLA,

A1, "Capitulo 4". We find Gregor surprisingly accepting of his new reality: far from going crazy, he has serenely discovered in his new self everything he didn't know and didn't perceive as a human being. "Capitulo 4" is an incredibly precise description of the awakening of the new Gregor. Shadows, fog, sinuous silhouettes that are impossible to identify. In one word: confusion.
B1, "Capitulo 5". Vertigo starts to ease, we can hardly feel the anguish and the heartbeat is gone. We are in a new reality and although it seems a done deal, every movement he makes tells Gregor that understanding this new world and his perception of it will not be easy. Chapter 5 demands our everything while we listen: our full dedication and attention to the last minute detail that reveals a new horizon and its new colour, or lack of it. A horizon that, nevertheless, is more perceptible for Gregor, because he can now capture all sorts of colours and emanations.
B2, "Capitulo 6". Light. Gregor still ignores that most domestic insects have a strong aversion to intense light, but his human conscience is still intact and it will take him a long time to reprogramme certain habits, instincts and automatic behaviours, like a preference for lit environments. The painfully intense sensation that his antennae convey to his tiny brain when faced with light is an effective path to learning: little shocks that Reeko reproduces in this track, surrounded by an oscillating and changing ambience that redefines itself each time we listen to it.

- Living Fields' ist ihr Debüt als Trio und das erste Album auf ihrer neuen Labelheimat Ninja Tune. Vielen noch bekannt als Portico Quartet bewegt sich das neue Werk elegant zwischen Electro, Pop, jazzigen Elementen und Ambient. Mit Jono McCleery, Jamie Woon und Joe Newman von alt-J treten außerdem drei bemerkenswerte Sänger auf. Exklusive Vinyl Edition als LP+CD (Bonus Disc)+MP3 300 EH für den GTG Indie Pool und JPC!

The mysterious EROS return !

Their initial 3 part series from a few years back became buy-on-sight homages to the raw, decadent & formative birth of club music. And while the first series concentrated on the darker, more electronic & mind-bending side of nightlife, the 'X' series works up an altogether more strobe-lit and full-tilt take on the glorious Disco supernova from whence we all came.

Ali Farke Toure and Ry Cooder have long treasured each other's recordings. They frst met in London in 1992 while both were touring Europe. It was agreed that they should 'try something together'. This 'something' became 'Talking Timbuktu', a Grammy award-winning classic album.In September '93 Toure was set to play a string of dates in the States and a week was set aside for recording his new album. Cooder was to play on a couple of tracks. A few hours' rehearsal at Cooder's Santa Monica home hinted at inspiring possibilites. The Malian guitarist's next three Californian dates all featured Cooder as special guest. The recording followed a week later by which tme Cooder had
agreed to produce the entre album and play on every track. The whole album, recorded in three days,is now available on vinyl with an additonal previously unreleased track.

ROD needs no introduction as the prolific alter ego of a certain Dutch producer already well associated with Figure. Here we are treated to 3 new ROD cuts, precisely aimed at the dancefloor, plus a special Len Faki remix to crown the package. Label curator Len Faki offers up his take on >Truck One< in a storming, action-packed ride, building on RODs sparse palette of sound-design rumbles, and creates a straight up modern Techno roller that refuses to be shy!

Filthy, sleazy, sassy acid house!

House Of Black Lanterns is the latest musical project from Dylan Richards, the man behind the King Cannibal and Zilla monikers (on the Ninja Tine and Warp Records labels respectively). With an album and two singles out in 2013 on the highly respected Houndstooth label, Richards returns with a deadly EP for Hypercolour, backed with a very fine Mosca remix.

In its Original Mix, 'The Smack' is a dense and atmospheric production, the slow pace and chugging bassline evoking shades of early Chicago house but with a thoroughly modern UK twist. Filled with tension and drama, 'The Smack' is a big sounding record that cuts through so many genre sounds from dub techno to dubstep but sounds entirely individual and unique.

Mosca steps up to the remix, following on from the launch of his new label Not So Much, and remixes for Alland Byallo and Sweatshop Boys. Taking 'The Smack' up to an altogether skanking tempo, Mosca plummets the Basic Channel school of sound for the aptly titled 'Dread At The Controls' version. Spring reverb all over the joint as Mosca works the droning synths and fire & brimstone vibes over a watertight, dub heavy workout. 'Grey Leather Glass' takes things up a notch, continuing the HOBL theme of dark & shadowy techno sounds with heaps of drama and sinister twists and turns, like some cinematic score to a Wes Craven slasher epic, and '8 Million Stories' cuts up vocal chops, finger snaps and piano stabs over a brooding house production. Deliciously dark music from HOBL here....

Athens of the North is proud to present Milton Wright's stunning alternate version of the now Classic Miami soul LP 'Friends & Buddies'. An altogether more stripped down, folky soul affair than its highly respected, much sampled brother is now available on Vinyl, CD and Digital for the very first time.

Shelved at the last minute then re-recorded and overdubbed, only a few promo copies of this early version escaped from the studio and are deep in the collections of the very few previously in the know.

The master tapes burnt in a fire at T.K Disco in Miami in the early 80s so even the label has not heard this in 30 Years. Many reissues of the second version of Friends & Buddies LP have come and gone, but Milton's original vision has remained hidden until now.

As searingly honest and stunningly soulful as any seminal Marvin Gaye or Terry Callier LP, it stands tall amongst its exceptional peers as one of the true pillars of quality 70s soul.

- Unreleased Alternate version

- New sleeve notes by Milton Wright

- Super-heavy high quality tip-on sleeve!

- Cut by the experts at Timmion Cutting Laboratory, Finland

Following the digital premiere of the track 'Nobody knows' at the beginning of September, myr. is an artist who remains shrouded in mystery. His debut EP 'Nobody knows Avalon' is set to be released through recognised Cologne label PNN on January the 19st, yet as the title suggests, still very little is known about the man behind the music.

myr.'s wish to withhold information is made obvious through the choice of track names on the EP: 'Nobody Knows', 'Avalon' and 'Homii' are all titles clearly designed to provoke the listener's curiosity, whilst upholding a sense of the enigmatic.

Although some might argue that such conscious obscurity is little more than a publicity stunt, surely at a time when the cult of DJ and celebrity are often intertwined there is something refreshing about myr.s decision to step-back. You only have to look at the homemade, monochrome videoclip that accompanies 'Nobody knows' to realise that myr. is about as removed from the glitz of DJ culture as it is possible to be.

It is this determined distancing from the norm that comes through is his music. The minimal sound is carried through by an underlying warmth, a grittiness that sets it apart from the often near-perfect production of popular techno. The first two tracks 'Nobody knows' and 'Avalon' create a sense of anticipation, with minimal, ambient beats that build, the listener is left with itchy-feet and a hankering for more. In the final track on the EP 'Homii' there is a change in tempo, the monotone beats make way for some slowed-down, trippy vocals that open the listener up to myr.'s versatility as an artist.

'Nobody knows Avalon' is an EP that represents a return to something raw and removed from popular music. As for the mystery surrounding myr. Well if you can't put a face to a sound then the only option is to listen.

! Irreal, the fth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the group's most experimental and open music yet.



If their last album Era conrmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It's a master class in texture, pace and control.



Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.



track listing:

1.Interpretation 2. I _ O 3. Another Thought 4. Irreal 5. OUD 6. Halcyon Days 7. Mist Rites 8. Navigating the Void



press quotes for Era:



'On Era, Disappears begin to pave a path to transcendence that's a little more varied, grabbing the more anemic sounds of Clinic and Liars, while keeping the forward momentum of their most obvious influences Spacemen 3 and rough-edged Velvet Underground. They know they trade in the business of the past and work within confined musical language, but they play on, middle fingers scratching their eyebrows.' 7.3 Pitchfork



'For Chicago based quartet Disappears, time seems to move at a different, altogether more indeterminate pace. Era is a work of magic; a record you could lose days or even weeks in, without noticing at all.' Drowned in Sound



'It's an incredible mix of legitimately haunting energy and maturity that is really, really hard to nd, and even harder to nd in an exciting form that doesn't come off cynical or jaded.' The Talkhouse



'Era is truly a landmark album for this formidable foursome' -Brainwashed

Released in September 1969 Then Play On was the band's third studio album and their first release with Reprise Records. It was the first to feature Danny Kirwan and would become their last with Peter Green.

Federsen returns to Fifth Interval for another sublime instalment of dance floor friendly dub-techno. Dewpoint is an altogether tighter affair when compared to the label's first release, Point Reyes.

The drums are taut and razor-sharp, propelling the listener effortlessly through a dense fog of ferric clouds, swelling to fill the outer-reaches of the echo chamber. A highly polished metallic production style that can be compared to some of Andy Stott's early and classic works.

Tomas Rubek remixes Dewpoint for the B-side, remaining faithful to the original track's structure but viewing it through a tinted lens. Dewpoint's chords become iridescent, kick drums fall into a straighter pattern and are backed by further dusty percussion, shifting the original into spheres inhabited by the likes of Rod Modell and Fluxion.

12" 180g vinyl with printed sleeve.

Mastered by Lewis at Stardelta.

"Original mix is dope." - Brendon Moeller (Beat Pharmacy)

"Really digging this remix. It's been on repeat this morning." - Silent Season

"Full support, I will play it, love Federsen's work!" - Fingers in the Noise

"Played on BBC Radio" - Steve Barker (The Wire)

Hubie Davison returns to Leisure System December 1st, 2014 with the Khayyam Grey EP, his second release for the Berlin-based label and one that marks both his and Leisure System's funkiest output to date.Following on his 2013 debut of pastoral electronics and muffled house, Khayyam Grey highlights Davison's vivid production skills, drawing from a deep well of influences varying from Werkdiscs and Sound Signature to Bill Withers and Otis Redding. The three tracks here are also the strongest representative document yet of the 26-year-old Davison's DJing, which incorporates all manner of memorable house and assorted wonkiness and has seen him play in Panorama Bar, Corsica Studios, and Gaité Lyrique in Paris amongst numerous others.The title track takes cues from Daphni's stand-up-and-shout, sample-heavy house, while "Get On" is a comparatively restrained yet incredibly funky mid-tempo number. "Vowels", which first appeared as the opening track on the LSR-LSD1 compilation, appears here in extended and altered form, breaking down vocals on a syllabic level from smooth to percussive.These three tracks of addictive house have been on constant rotation at Leisure System for the past few months - it's high time everyone else joined the party

Die langerwartete Rückkehr eines Kompakt-Pioniers steht ins Haus: endlich präsentiert REINHARD VOIGT mit RACHANEE neues Solo-Material - das erste 12'-Release unter eigenem Namen seit ALL IN von 2007 (KOMPAKT 168). Zwei beeindruckende Techno-Stücke rangeln hier um die Führungsspitze im Frequenzbereich, erfolgreich die altbewährten Methodiken des Künstlers aufbohrend für eine zeitgenössische Meute am Rande des Abhebens.

Was erste Eindrücke angeht, sammelt der Opener und Titeltrack RACHANEE bereits in den ersten paar Sekunden eifrig Punkte, dank des inspirierten Einsatzes eines hypnotischen Vocalsamples. Eine Lektion in griffigem Minimalismus, ist es vor allem dieser wogende Stimmschnipsel, der den Hörer ins Geschehen zieht - gefolgt von einer stoischen, aber überraschend funkigen Bassline deren Sex-Appeal eindeutig in ihrer Einfachheit liegt. Die DNA des Tracks weist ihn als Verwandten des Outputs von Voigt & Voigt aus - insbesondere deren wendiges Debüt-Album - Die Zauberhafte Welt Der Anderen' (KOMPAKT 274 CD 104) und die Verwendung von Found Footage und Collage-Ästhetik mit attraktiven Rhythmusmustern.

Der rückseitige Klopfer TISCH FÜR ZWEI hat eine etwas andere Mentalität und zeigt offen seine schwindelerregende Vorliebe für oldschoolig schleifende Synth-Spuren - erinnernd an eiskalte Klassiker aus dem Voigtschen Katalog wie etwa How We Rock' (KOMPAKT 72) oder - Supertiel' (KOMPAKT EXTRA 2). Als aufgebockte Reminiszenz und meisterhafte Wiederaneignung dieser traditionellen Kunst der Hirnschraube funktionieren die ausscherenden Synth-Bleeps hier prächtig - sie halten die Beats am Raten und sichern das richtige Maß an Irrsinn in einem Track der exklusiv nur nach eigener Pfeife tanzt. Hier springt keiner zweimal in den gleichen Fluß.

As one of contemporary alternative music's most elusive figures, Dean Blunt returns on Black Metal and delivers his most assured and ambitious record to date for Rough Trade. An album of two halves; the crestfallen baritone on Blow is juxtaposed by the inner-city sermonising of Grade, just as the melancholic strumming of 50 Cent gets rattled by the unrelenting stagger of Mersh. With ominous narratives of hunger and loneliness rumbling underneath the gloomy surface, Black Metal is a moonlit cruise through Blunt's cloudy metropolis. There's no telling where he'll go next, but this is one of his finest trips to date

BARNT - geboren in den 70ern, Kind der 90er.
Seine Klassenkameraden hörten Grunge, während er Techno studierte, als die gleichen Klassenkameraden dann Techno entdeckten, hatte er sich bereits die HipHop DNA in Form von ITF und DMC Meisterschaften vorgenommen und als alle nach Berlin gingen um - Minimal' zu zelebrieren, blieb er in Köln und begab sich auf eine Exkursion in die Geschichte deutscher Elektronik- und Rockmusik - stets angezogen von den zwei Hauptmerkmalen dieser Ära: Präzision und Freies Spiel. Diese musikalischen Schlüsselpunkte und seine nun schon zwei Jahrzehnte dauernde DJ Erfahrung sind die Basis für die Formel aus Pathos, berechnendem Dilettantismus und Dance!oor-Funktionalität, die alle seine Produktionen kennzeichnet - von seinem Beitrag für Cologne Tape auf der EP Render, der ersten Veröentlichung auf seinem mit Jens-Uwe Beyer und Crato betriebenen Label Magazine, bis hin zu dem berüchtigten Geen. Render und seine Debut EP What Is A Number, That A Man May Know It wurden 2010 direkt zu Underground Hits und die Platten sind seitdem begehrte Sammlerstücke. Zu dieser Zeit war Barnt schon ein etablierter Teil der Musikszene Kölns, der Stadt in der er zunächst sein Biologiestudium abschloss und darauf noch ein Kunststudium folgen liess, was erneut die beiden Pole ,Präzision' und ,Freies Spiel' in seiner Entwicklung vereint. In der fruchtbaren Atmosphäre der Stadt fühlt er sich noch immer wohl und entwickelt von hier aus seinen eigentümlichen Stil weiter, der ihn bereits vom Robert Johnson zum Trouw, vom Montreux Jazz Festival zum Mutek und vom Berghain zum Burning Man gebracht hat.BARNT - geboren in den 70ern, Kind der 90er. Seine Klassenkameraden hörten Grunge, während er Techno studierte, als die gleichen Klassenkameraden dann Techno entdeckten, hatte er sich bereits die HipHop DNA in Form von ITF und DMC Meisterschaften vorgenommen und als alle nach Berlin gingen um - Minimal' zu zelebrieren, blieb er in Köln und begab sich auf eine Exkursion in die Geschichte deutscher Elektronik- und Rockmusik - stets angezogen von den zwei Hauptmerkmalen dieser Ära: Präzision und Freies Spiel. Diese musikalischen Schlüsselpunkte und seine nun schon zwei Jahrzehnte dauernde DJ Erfahrung sind die Basis für die Formel aus Pathos, berechnendem Dilettantismus und Dance!oor-Funktionalität, die alle seine Produktionen kennzeichnet - von seinem Beitrag für Cologne Tape auf der EP Render, der ersten Veröentlichung auf seinem mit Jens-Uwe Beyer und Crato betriebenen Label Magazine, bis hin zu dem berüchtigten Geen. Render und seine Debut EP What Is A Number, That A Man May Know It wurden 2010 direkt zu Underground Hits und die Platten sind seitdem begehrte Sammlerstücke.Zu dieser Zeit war Barnt schon ein etablierter Teil der Musikszene Kölns, der Stadt in der er zunächst sein Biologiestudium abschloss und darauf noch ein Kunststudium folgen liess, was erneut die beiden Pole ,Präzision' und ,Freies Spiel' in seiner Entwicklung vereint. In der fruchtbaren Atmosphäre der Stadt fühlt er sich noch immer wohl und entwickelt von hier aus seinen eigentümlichen Stil weiter, der ihn bereits vom Robert Johnson zum Trouw, vom Montreux Jazz Festival zum Mutek und vom Berghain zum Burning Man gebracht hat.

Producer CRISTIAN VOGEL, born in Chile and in raised in Bristol, England, represents an inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which authorship, previously pronounced dead, returned in full force. The former punk, who had completed studies in composition (20th century classical music in Sussex) conveyed a powerful force in his music, which now finds its place very naturally as electronic music; back then, it did more than just shake up the concepts of techno. Complex and intricate rhythms (Süddeutsche Zeitung) dig deep chasms in dark (listening) spaces.

In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest he perceived in others in music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities where music is thought of as an attack and a defense.
Seemingly out of disappointment in the predictably declining hedonism of the scene, he moved to Barcelona and bound his explosive ideas to more accessible formats, founded labels, created networks (No Future, Sleep Debt) and, at the same time, revisited his early days by working more and more on formats such as music for ballet and similar concepts. He also sought freedom precisely in what was referred to as functional electronic music through conceptual and serious endeavors in the artistic sense.
Vogel went under for a time and lived in Vienna before arriving in Berlin nearly two years ago, where he made his first new and daring attempt to assimilate everything that electronic music represented to him on one album: 'The Inertials' on SHITKATAPULT. Shortly after that, his mystical, floating ambient work 'Eselsbrücke' was released, which already spoke the language of the new city.

He now presents a new album on SHITKATAPULT entitled 'POLYPHONIC BEINGS' - a true masterpiece in the inimitable Vogel style, as his fans will no doubt claim. 'POLYPHONIC BEINGS' begins, after two minutes of an irritating noise wave, with a surprisingly classic dub track and grows darker and more abstract from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel's own cosmos.
He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the "atomic layers of ourselves." And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.

Saxophonist Sean Khan is a multi-instrumentalist distinguished for his ability to fuse traditional jazz with contemporary styles. His involvement in the West London broken beat scene as band leader of the cult soul/ jazz outfit SK Radicals and as a collaborator with the likes of the Bugz in the Attic collective, have seen his unique breed of jazz put to full effect in London's clubs, at nights like the legendary bruk orientated 'CoOp'.

In anticipation of Sean Khan's second album on Far Out Recordings: 'Muriel', this four track 12' release features remixes from 4hero and Nicola Conte with father of British Neo-Soul, Omar on vocal duties. 'Don't Let The Sun Go Down' is uplifting and sophisticated dance-floor jazz. Dego and Marc Mac (4hero), two pioneers of broken beat, jungle and UK dance music as a whole, re-work the single from 'Muriel' into a delicately crafted downtempo number, which tames the original somewhat with club focused intentions, yet retains all of its fluidity and groove. Along with the eminence of rhythmic elements, Omar's instantly recognizable, thick and soulful vocals are sparsely and subtly layered to create beguiling, unconventional harmonies. Elevating the track to its peak, Sean Khan's exquisite alto sax solo demonstrates both his technical prowess and keen understanding of jazz's history, whilst working to carve out its future. The B side hosts Nicola Conte's remix of 'Things to Say'. Renowned for his input and influence in the lineage of acid jazz and fusion, as a producer, Dj and musician, Nicola Conte provides a deeper, darker take on Sean Khan's unique blend of jazz. A bouncy 4/4 house beat skips along beneath contemplative, whirring Rhodes, while the ghostly soulful vocals of Diana Martinez and samples of Sean Khan's expressive sax playing see the track taken to more introspective yet still clearly club focused territory. The final track is the intro to 'Sister Soul', previewing more material from Muriel, Sean Khan's forthcoming studio album on Far Out Recordings.

This third release on Flatlife Deep is a deep detroit techno release from Mark Archer; also known as Altern 8 or Nexus 21.

"Correction" is a great warm track with warm detroit sounds and the remixes will surpise you ! Acid Techno, Deep Berlin Techno & Analogue Housesounds will reach your ears - get this vinyl in the pocket !!!