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It means Noisy Stars'' - Fergus Lawrie.

So it's coming up for the 20th anniversary of the We Are Urusei Yatsura' album, so what better time to look back at the broken Woolworths guitars, damaged eardrums and bleeding knuckles of Glasgow's lo-fi, Tokyo dreaming geek rock quartet

You could say it all began at the Glasgow Sound City event, when legendary BBC DJ John Peel came along to check out Urusei Yatsura at the 13th Note at the invitation of future Franz Ferdinand front-man Alex Kapranos. Liking the chaos that he saw, Peel invited the band to record a session for his show, asking live on air while guitarist and singer Graham Kemp was visiting the studio to talk about his Kitten Frenzy' fanzine the next day.

Peel arranged for us to record the session in Glasgow' says Kemp, We didn't have any amps or any money to get to London.' Producer Stewart Cruickshank told the band that it was the first Peel Session recorded outside of Maida Vale since the Undertones. So no pressure there then.

This began a long association with John Peel and the BBC, which saw the band record 5 Peel Sessions, 3 Evening Sessions for Steve Lamacq, play live to air for Mark Radcliffe, and appear regularly on Radio Scotland for John Cavanagh and Mark Percival. Digging through old C-90's that had been partly taped over with that week's charts, the band have pieced together a compilation of the best tunes for you, the discerning 90's indie rock aficionado.

..they sounded a bit like the Saints' - Thurston Moore, SELECT

Some of the recordings we did for the BBC, I think, are better than what eventually made it onto vinyl. We did Kewpies Like Watermelon' live in the control room for Radio Scotland and we had just learned it so it sounds really fresh and exciting. The version of Siamese' is the best we ever captured, and I love the Dice/Nae Dice' tune we wrote especially for Peel'. - Kemp

The challenge of recording and mixing four songs in a single day brought out the best in the band, and suited their impulsive, DIY rock n' roll spirit. The album, available on CD and vinyl, features 11 songs, including session versions of 6 singles, choice album tracks and live favourites from the only band who have been threatened by both the Yakuza and the Mafia (the latter incident generating the hilarious headline Nerds Threatened With Death' in the Sun newspaper'). The band have decided to call this hand-picked selection of the highlights of an eight year career', You Are My Urusei Yatsura, BBC Radio Sessions.

Other highlights of said career include, a number one indie single with a video shot in a Star Trek themed bar (Phasers On Stun), a Peel Festive Fifty placing (Kewpies Like Watermelon) an actual top 40 hit (Hello Tiger), numerous chaotic tours of Europe, UK and USA ,narrowly surviving a collapsing stage at Benecassim and a tent fire at Phoenix Festival, releasing three studio albums and 13 singles (including splits with Mogwai, the Delgados and the Blisters), taking Mogwai, Eska and Pink Kross on their first UK tours, supporting Super Furry Animals, Pavement and Teenage Fanclub, playing at Roskilde, Reading and T In The Park festivals, The CMJ festival in New York and MIDEM in Cannes.

The band consisted of the writers Fergus Lawrie (guitar and vocals) and Graham Kemp (guitar and vocals), with brother and sister rhythm section Elaine and Ian Graham on bass and drums respectively.

Ströme Musik ist immer analoge Live-Musik, die an zwei A100 Modularsystemen entsteht, dazu gesellen sich auch mal andere analoge Synthies, Vocoder, Bass oder Trompete live und Percussion live. So spielen Ströme auch ihre Konzerte.

Ströme sind die zwei Vollblutmusiker Mario Basshofer und Tobi Weber der erfolgreichen Brass Techno Band LaBrassBanda, die sich zusammengeschlossen haben, um einen Mix aus treibenden Beats, analogen Synthmelodien und live Trompete zu schaffen und diesen auf die Festivalbühnen und in die Clubs zu bringen. Klare, ungeschliffene Sounds und dynamische Drums werden an Modularsynthesizern komplett live und von Hand gemacht.

Das macht Ströme zu einem einzigartigen Liveact. Einen derartigen Modular Liveact mit allerhöchstem Rave-Appeal gab es noch nie - jetzt gibt es Ströme. Ihre bisherigen Live Konzerte waren sensationell. Dieser erste Release (12' / digital) mit drei Tracks erscheint im September, eine weitere Maxi im Spätherbst und ihr Debüt Album wird im Februar 2017 folgen.

Chances are you've already danced to one of his sets at Panorama Bar - Matthew Styles has been a regular guest DJ at the club for several years -, but you've probably also come across at least one record with music that went through the Englishman's meticulous hands. While Matthew has released great but small numbers of 12"es on various labels since 2007, his credits in mixing, engineering and mastering exceed his solo discography by far.
With the Metro EP we're finally offering a full solo release by Matthew Styles on Ostgut Ton, accounting for his consistent productional finesse, especially with his original track "Liquid Sky" (on Nick Höppner's Panorama Bar 04, 2012) and his 'Dub Mix' of Dinky's "Planes" (on Ostgut Ton / Zehn, 2015).
"I've never worked on a sequential set of songs that came out on the same record," Matthew commented on this 12". As with his productional approach in general, the Metro EP has a certain timelessness: "One piece is from 8 years ago, one from 3 years ago and another from around the time of the recent birth of my second son. I'll leave it up to the listener to guess which is which."
The eponymous "Metro" on A is an elated seven-minute, trippy, meandering analogue synth exploration in House and Cosmic Disco. "Wave 6" opens the flipside with a simple yet beguiling melody: 6 notes dancing completely beatless in 5/4 time, meandering repetitively and escalating towards a blissful - yet only anticipated - climax. "Border" on B2 is a solid addition to the long history of Dub Techno - smooth, steady, super layed back, but also offering many colorful melodic elements.
(de) Gut möglich, dass du schon einmal zu einem seiner DJ-Sets in der Panorama Bar getanzt hast - Matthew Styles spielt seit Jahren regelmäßig am Wriezener Bahnhof -, aber sicherlich hast du wenigstens eine Platte gehört, die vorher durch die akribischen Hände des Engländers gegangen ist. Obwohl Matthew seit 2007 tolle aber wenige 12"es auf verschiedenen Labels veröffentlicht hat, übertreffen seine Credits als Mixer, Engineer und in Mastering seine Solodiskografie bei weitem.
Mit der Metro EP hat Ostgut Ton nun endlich ein volles Solorelease von Matthew Styles im Angebot, das seiner konsistenten Produktionfinesse - besonders bei seinem Track "Liquid Sky" (auf Nick Höppners Panorama Bar 04, 2012) und seinem 'Dub Mix' von Dinkys "Planes" (auf Ostgut Ton / Zehn, 2015) - Rechnung trägt.
"Ich habe noch nie aufeinanderfolgend Stücke produziert, die dann auf derselben Platte erschienen wären", kommentierte Matthew diese 12". Wie generell bei seinen Produktionen besticht die Metro EP durch eine gewisse Zeitlosigkeit: "Ein Stück ist acht Jahre alt, eines von vor drei Jahren, ein anderes von kurz nach der Geburt meines zweiten Sohnes. Die zeitliche Einordnung möchte ich dem Hörer überlassen."
Das gleichbetitelte "Metro" auf A ist eine beschwingte 7-minütige, trippige, mäandernde Analog-Synth-Erkundung in House und Cosmic Disco. "Wave 6" beginnt die B-Seite mit einer einfachen aber betörenden Melodie: 6 Noten tanzen beatbefreit im 5/4-Takt, treiben repetitiv und ansteigend auf einen beseelten - aber nur erhofften - Höhepunkt zu. "Border" auf B2 ist eine solide Dreingabe zur langen Geschichte von Dub Techno: sanft, stetig, super entspannt, aber mit vielen melodischen Elementen.

What's in the du name 030303 records asked three of their favourite prod'ucers with matching names to du an ep together: Ann Harbour's D'Marc Cantu and Mark du Mosh & Paul du Lac, both from the dutch harbour city Rotterdam. The result is dynamite! A1"Mine Motion" is a monsterous jacker in the rawest form how only mr Cantu can du! On the B side Mark du Mosh takes off with a flight to "Bermuda" with a hot & steamy roaring electronic beast sitting on the wing of the plane and causing some heavy turbulence. Fortunatly du Mosh keeps us flying high with some deep emotional synths. Last but not least Paul du Lac delivers a dark psychedelic techtool called "Beta Rhythm". A track that creeps under your skin as a virus, causing some serious haziness from noding your head. Be aware that this record will appear on vinyl only!

Fideles is the joint moniker of Italian duo Daniele Aprile and Mario Roberti, who have carved out a niche for their distinctive brand of deep, techy house on noted labels such as Defected, Be As One, and Marco Resmann's Upon You, among others. Here on their first outing for Poker Flat Recordings, the duo cook up four courses of lean, focussed tech-house for Steve Bug's seminal imprint. 'Detuned' starts the journey - an edgy, tense groove exhibiting the boy's masterful sound design and use of space to create a thick, intoxicated atmosphere. 'I'm Rude' is more direct - a thumping bass drum introduces a low slung bass groove, slowly evolving and mutating into a true party-starter. 'Worthy' uses similar building blocks but delivers a different vibe altogether, revelling in a minimalist production aesthetic and cheeky bass riff. 'Ran Baran', the title track, is another lesson in great production - each element perfectly balanced to create an atmosphere of controlled mayhem - which is exactly the response this entire EP aims to instigate on dancefloors.

TOTAL compilation series hardly needs an introduction: we rummage through the Kompakt releases to select our favorites from the past year that reflect our best and unsaid tracks, compiled and packaged as a cohesive whole.

For TOTAL 16, the 2xCD and digital track listing features 25 prominent cuts from artists such as THE FIELD, WEVAL, REX THE DOG, TERRANOVA, HUNTER/GAME, FRANKEY & SANDRINO, JOHN TEJADA, BLOND:ISH or PATRICE BÄUMEL.

On top, TOTAL 16 includes eight exclusive tracks which happen to make up the 2xLP vinyl track listing. What you have is a dynamic assortment and comprehensive profile of Kompakt's current label portfolio, including both newcomers and veteran producers in peak form.

Keeping up a good old TOTAL tradition, we also planted brandnew material from core artists and friends - check out exclusive tracks such as MICHAEL MAYER's aptly named ACTION, an absolutely rinsing acid cracker, or MATIAS AGUAYO's stellar KOMM, sitting comfortably among his best and most stirring work to date. Meanwhile, JÜRGEN PAAPE drops silky, atmospheric synth pads on EDEN and THE MODERNIST teams up with Hot Chip's JOE GODDARD for the pop-infused THE PRICE OF LOVE. Another highlight is the debut release from exciting newcomer LAKE TURNER: BEACON FIELDS is a misty- eyed, melancholic piece focussing on exquisite electronic textures and sweeping melodies.

As with previous TOTAL installments, we collect these exclusives on a separate 2xLP edition, but like to add a handful of cuts that can only be found on the vinyl version - for TOTAL 16, these include ALEX UNDER's LLAMAN A LA PUERTA, a densely layered, slow-paced synth jam that makes for a inspired detour from the propulsive, lean beats the Spanish producer has become known for. SWEET 100 present a masterfully crafted study in hypnotic minimalism on SIX, while VOIGT & VOIGT hark back to the pounding, sensual abrasiveness of early Auftrieb releases on DENKEN SIE LAUT, crossbred with the tongue-in-cheek gloom of the brothers' later, more psychedelic offerings.

The Kompakt favorites from the past year, compiled and packaged as a cohesive whole, with cuts from THE FIELD, THE ORB, COMA, BLOND:ISH, HUNTER/GAME, JOHN TEJADA, REX THE DOG, TERRANOVA and many more..

Features exclusive new tracks from MICHAEL MAYER, MATIAS AGUAYO, JÜRGEN PAAPE, THE MODERNIST, ALEX UNDER, SWEET 100, VOIGT & VOIGT and LAKE TURNER

The sixth release from Hong Kong/Tokyo label Palms & Charms sees the return of Barnaby Bruce, and starts with a tale of daring escape.Hearing the approach of a loping synth, the protagonist checks the window: mysterious people are gathering outside his house! As a somewhat Gallic groove emerges, he and his girlfriend are in his car and heading south, driven on by the swing of the percussion. Will he find his deliverance On The Continent
Next up, Ruf Dug steps in with a spacious electronic reggae-esque remix, leading up to a killer piano line which pushes the groove straight onto the Autoroute. Ces't magnifique.
On the B-side, our erstwhile fugitive and partner awake by the side of a country road in southern France. A baguette, a bottle of wine and the sound of chattering insects. Oh, For The Cicadas!
As they head ever further south, they begin to reflect on what Other Worlds await them at journey's end. On the car radio a band plays a curious but driving blend of disco and percussion, with a distinctly house-influenced melody. Cette musique les deplace. Was it all just a crazy dream Grab your suitcase, head to the coast and pick up a copy of this limited edition record to find out...

Mental Acid Tribe from Italy. A deep acid beauty experience !

Following on from this year's Hate/Love 12", E. Myers returns with more basement music in the form of 'Untitled'. The original will no doubt appeal to the House slickers that still like to go a little rogue.

For those who wanna get loose, turn to the 'Heat Mix' with it's sprinkling of Miami arriving at just the right season. Rounding it off, for those who always need one more, the 'Beat Mix' is a 4 minute drum middle of the night cap.

'AUS Music ready a double vinyl remix package from Cassy's debut album,'Donna' which came out in June 2016. With 'Donna' we hear a more personal side of Cassy. Co-produced by her soul brother' King Britt, Cassy reconnects with her vocal talentwriting lyrics and singing on all tracks but one, making the album an intimate journey from the soul. Cassy has en-listed some of her most respected peers, all of whom have put their own stamp on the original tracks. This makes the remix package the perfect contrast to the album, and also proves that Cassy's original music has the seal of approval from some of the finest house and techno heavyweights on the circuit today. Marcel Dettmann adds an endearing edge to move 'Move', whilst Ron Bacardi picks up an undeniable pace on 'All I do'. 'Feel' is taken on a cosmic journey with Onsulade's Yoruba, and Radio Slave gives 'Keep Trying' the remix treatment twice. Finally 'Keep Trying' is reworked on by friend & collaborator, D'Julz, Julz takes takes things down a subtle, dubbier route with his edit, keeping Cassy's vocals a staple throughout'

Timmy P's latest outing on Dessous Recordings continues the long list of illustrious labels that have been home to his house vision. Now based in London, Timmy has a string of emphatic releases under his belt, not least on influential imprints such as Local Talk, Extended Play, Dirt Crew and MadTech. With Safety First, Timmy's playful approach to the deeper side of house shines though. The title track mixes crisp, crunchy drums with warm, soft pads and a bubbling bass line - a deep rolling cut with plenty of punch for the floor. The fantastically named 'Grim Fandango' is a little tougher, with the snares and claps snapping tightly over a taut, un-resistible vibe. Timmy's balance of dynamics is masterful, each element perfectly complimenting each other to create a tour de force over 8 minutes. 'Bosh' is similarly crafted - the original echoing classic 90s house but feeling completely fresh for 2016, while James Dexter's remix is a robust, deep roller. This is house music made with joy and passion.

Translation returns with the long-awaited Prints of You Remixes EP to continue the sonic exploration of its namesake, which marked Nuage's transition to house and bass music. Up first, veteran London-based outfit Blu Mar Ten deftly re-imagine the album's opening track Colors at a crisp 170 BPM, applying lush atmospherics, energetic breakbeats, and rolling basslines for an uplifting dancefloor vibe. Next, Nuage delves into experimental/postmodern drum & bass territory on his remix of Waterfalls, crafting an immersive, naturesque soundscape with a subdued percussive shuffle, twinkling keys, and bouncing 808 bass. Fellow Saint Petersburg based artist Bop applies his signature "Microfunk" sound to Overseas, juxtaposing crunchy lo-fi drums and glitchy FX with the uplifting house vocals and soothing synths of its predecessor. The Levels end things with a twist, re-imagining the melancholic Shining into an uplifting slice of future soul music with a textural, arpeggiated synth lead, bubbling 808 drums, and fresh verses from Alia Fresco that seamlessly blend into Veronique J's cello performance.

There´s not much known about Fabror Resande Mac but them hailing from Stockholm Sweden and having released even fewer matrial yet... an ep on Afficicionado and one on Back to Baleraics.
But both to much applause and already being sought afterness.
FRM do masterfully crafted, slow paced (pacific) coastal sound with all the ingredients for making you long for more. Steady bass pulses, mechanical percussion, punctual punches make waves from underwater to hyperspace - seductively deep and almost see through light.
Price and Timeless.
Or how our dear friends from mighty testpress.org blog would put it:
An idealized promise of the only true cure.
Atalanta and Vi över Manhattan are a Teasor of something even bigger coming in the Autmn of this year. Fabror´s first full length album, here on Horisontal Mambo. So don´t touch that Dial - this is just the beginning of the Deep End.

Horisontal Mambo is a new sublabel from Full Pupp.

Raised in a musical family Anastacia first developed a career as a dancer, appearing in video clips and on MTV shows. Her debut album Not That Kind was released in
2000 and immediately struck a nerve in Europe, Asia and
Australia, before hitting it big in the US.


Her striking looks and most of all her remarkable vocals had her searing up the charts, helped by hit singles such as 'I'm Outta Love', 'Cowboys & Kisses' and the title song. Teaming up with some of the most successful songwriters of the time, her expressive alto voice had that rough edge needed for an identity of her own in blasting Pop/Rock/Soul tracks that did well both at home and on the dance floor.

Influenced more by Aretha Franklin and Tina Turner than contemporaries Britney Spears or Christina Aguilera she appealed to an adult crowd, eventually turning her into the 'World's Best Selling New Female Pop Artist' at the 2001
World Music Awards.

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

The latest in the series of Prince vinyl reissues, Prince's 1986 eighth studio LP, includes Kiss, Anotherloverholenyohead, Mountains ...

Following the release of 2015's Animistas album on Mindtours, Steevio returns with the fourth and final volume in the Modular Techno series after starting the project in 2012.
Initially conceived as he moved his studio practice towards a purely outboard, analogue, modular synthesiser set up, the Modular Techno series has charted the development of Steevio's exploration of this working practice both on record and on stage. The work involved in live appearances across the UK and Europe over the past four years have fed into the creative process, with rehearsals for sets often yielding the material that has ended up on vinyl.
Volume 4 is arguably the darkest instalment in the series to date, dealing in a strict economy of minimalist rhythms and off-key melodic touches while still easily identified as the unmistakable tones and distinctive grooves of Steevio. In the grand tradition of techno as visionary music, the dystopian tone that lingers throughout Modular Techno Vol 4 points to a future of uncertainty, but this is far from nihilistic music; always within the darkness remains a glimmer of hope.

(180 gr vinyl incl. rmxs by Pharaohs, CFCF & Apiento) 'On Vacation' was hailed by many as one of the finest of 2016 so far. As ever we asked a few people we like to do some versions.
International Feel launched their minialbum series late last year and second in line was CFCF with 'On Vacation' which many hailed as one of the finest of 2016 so far. As ever we asked a few people we like to do some versions.

Pharaohs come from LA and blend Liston Smith vibes in a modern electronic context. They have released music on ESP Institute and 100% Silk. Their take on 'Pleasure Centre' is a bongo driven ride with acoustic guitars and jazz infused flute harmonics. It's a lovely thing.

CFCF himself takes on 'Fleurs laissés dans un taxi' in a beautiful balearic style. Super mellow with sweet guitar in a classic Pat Metheny style brings out the melody with the pads & syncopated drums and percussion rolling away in the background.

Apiento takes the chance to reedit 'Chasing' which was one of our favourites from the label. A little dub and an extension is all it takes to let this one breathe for a little longer.

Across the board good from International Feel. Enjoy.

Following contributions by DJ Deep and DJ Hell, Tresor Records are proud to present the third instalment in their Kern mix-series, this time headed by Berlin based producer Objekt, his first release following his 2014 debut album Flatland for PAN. In keeping with the series mission of showcasing a more personal approach to mixing Hertz describes his process as such;

Kern Vol. 3 is made up of tracks that I know I will play and love for years to come. Some of these records have been in my bag for years; others are almost as new to me as they are to you. A handful are by lesser known artists whom I admire and who I think deserve wider recognition. Planned, recorded, embellished, reworked, tweaked and chiselled away at over a period of 6 months, the mix was gradually carved out in a way that makes use of new and old techniques alike, presenting itself primarily as a DJ mix but settling in a sweet spot between live recording and studio trickery. The tracklist spans styles, decades and BPMs in an attempt to craft a mix that's unpredictable and compelling in equal measure - one that draws from the more adventurous corners of my club sets, but above all, one that's a pleasure to listen to.

Clocking in at 75min across 36 tracks, Kern Vol. 3 delivers on Objekt's promise, stitching together everything from the playful breakbeats of Beatrice Dillon's "Halfway" to Kirk DiGiorgio's classic techno "Nebula Variation" and the lightspeed IDM of Aleksi Perälä and Ueno Masaaki without missing a beat. A descent through ambient bliss, thundering cello drones and vocal contortions (courtesy of Anna Caragnano, Yair Elazar Glotman and Senyawa's Rully Shabara respectively) give way to the stoned haze of Sensational vs Sotofett and metalwork of Machine Woman and Skarn, rounding up a highly eclectic and adventurous mix which also includes previously unreleased tracks by Bristol's Shanti Celeste, rising Brooklyn producer Via App and accomplished electro technicians Clatterbox and Polzer.

The first release on new Berlin-based label Per Musica Ad Astra is Mick Clarke's 'Zusammen!' LP, the follow-up after many years to his debut solo release 'Games' on German label Blubberlips in 1979. A pioneer of UK electronic music, Mick was also in legendary synth-wave band Naked Lunch, and apart from producing music under a few different aliases over the years he also finds time to run the Flight Recorder label and is a regular programmer on Intergalactic FM, hosting both the Radio Oscillations and Magic Waves shows. The music here is very much in the spirit of the label's kosmische/space Berlin-school agenda, both reflecting his earlier work and exploring new territory simultaneously. Lush orchestrations and beautiful synth pads contrast against hypnotic rhythms and delicate melodies, and while the label's mission might be electronic listening music' tracks like 'Red Bird' and 'Mistral' are surely DJ material too. The latter evokes a sound similar to vintage Basic Channel, while other parts of the album flow through sonic territories as diverse as Tangerine Dream and the Berlin school of ambient, Warp Records' classic 'Artificial Intelligence' series, deep electro and even atmospheric Italo as well. The record comes in a beautiful sleeve with notes from the label, and comes free with a nice space insert! Definitely not one to miss!

Dusky's 17 Steps present Floor To Floor. Featuring tracks from Velvit, Trevino, Lo Shea, Hugo Massein and Alan Fitzpatrick, Floor To Floor compiles 12 tracks that approach the modern house and techno aesthetic with a UK edge.
Joining the dots between electronica-leaning sounds, melodic house and warm-up grooves to moody techno, looping tech house tools and broken beats, Floor To Floor represents a snapshot of current UK House and Techno sound worlds - all heavily road tested in Dusky's DJ sets. Carefully compiled over a 12 month period, each track combines artistic individuality with dancefloor utility. On the second sampler, UK techno powerhouse Alan Fitzpatrick delivers a nostalgic nosebleed rave banger in a modern style on 'Where Haus', XL signing Hugo Massein deals in rolling tech nastiness on 'Restart The Sun', Lo Shea's shuffling, sci-fi beats elevate 'Thousand Foot Waves' while Moniker take things deeper on 'Moving'.

For the second vinyl release on DNA_rec, Emiel Zwart hit the road again with a brand new EP "Counterattack". The package includes 2 original cuts and remixes from Ritzi Lee & Remco Beekwilder. As a result they've managed to create a distinctive EP which has a variety of tracks that suits everybody's needs for every club moment. Counterattack opens up with constantly driven synths and sturdy basslines and Ritzi Lee made perfect use of these elements for his remix. Church is the more minimalistic approach compared to Counterattack but when that vocal gets in your head and combined with some hard hitting claps and hihats this track can be played at any time of the evening. And to top things off Remco Beekwilder has made a hard banging remix from this cut as you can expect from the talented producer.

Repress
Solid red 12 vinyl comes accompanied with a limited edition double sided 'Redders' Ep poster (insert). Vinyl purchase includes EP instrumentals as a digital download (Critical Store exclusive)

A man who guested on many a Critical release finally brings his very own EP with the hugeproduction backing of Gorgon Sound, Sam Binga, Hyroglifics and Moresounds. An onslaught of halftime bassline, dancehall and electronic twists in one EP ready to floor the room!

ORYX 9 has built a synthetic complex universe, in a 70s Druillet pscychedelic Sci-Fi similar vein, mixing up a handicraft and exhaustive sound treatment through ancient machinery, and proper mind-bending literature. Abstraction trail', a conceptual whole sheaf, is the result itself and the fourth 30drop ExoPlanets reference. The evocative Subatomic Uprising in Cassiopea''s retrofuturism meets the lisergic onirism of Ethereal Aquadome'. Bassdrum goes harder on the delayed hipnotism of Magma-45 Decaying Path', a planetary decadence tale. And finally, Ultraviolet (Light of Tsih)', a cosmic endless melody from a dead constellation, winds up the EP. And continuing our 30drop Records Mix Tapes series, ORYX 9 presents this current second chapter with an exclusive DJ set, recorded live at the Simmetry Box in April 2016, that introduces its artistic proposal as a sound manifesto.

Launched in 1996, PLOINK has been a core brand in Norwegian techno for two decades now, booking the likes of Jeff Mills, Juan Atkins, Derrick May, Carl Cox, Radio Slave and Richie Hawtin, as well as launching a
record label that champions Scandinavian artists. With the likes of Prins Thomas, Mental Overdrive, Nordenstam, Mind Over MIDI and label founder Thomas Urv appearing thus far, 96-16#3 is the third and final
instalment in the 20-year celebratory releases.
One of Norway's well established electro/techno artists over the past 15 years, Skatebård begins proceedings with the sinister 'Kapitalsystemets Belastning' featuring menacing bass and otherworldly synths,
before Bergen's Kahuun demonstrates a concoction of keys, effects and atmospherics with 'Sherlock'.
Next, Kristiansand's +plattform, who's just launched his Graatone imprint, introduces powerful kicks and eerie drones in 'Reluctant', making way for the percussive and rhythmic 'Helle Farben' from analogue-loving duo Dormund. Faarikaal Records founder Henrik S' 'Phobos' then ventures into sci-fi realms with spacey aesthetics and echoing stabs until Krill Music boss Espen Lauritzen ties up the release with the intricately produced 'Tromsø'.

Three years on from the release of the critically acclaimed debut album, Undergrass, Mushrooms Project return to Leng with a two-track taster or their forthcoming follow-up full-length.
In the intervening years, Giorgio Giri and Marco Lentano have hardly been slacking, further exploring their unique blend of glistening Balearica, dubbed- out disco, Italian Afro-cosmic and psychedelic nu-disco via EPs for Horn Wax, Uber and Hell Yeah! Recordings. Their latest two-track missive is undoubtedly amongst the Italian duo's strongest work to date. The A-side boasts 'Dirty Bolas', an effortlessly summery groover destined to soundtrack sultry evenings and sun-baked afternoons. Its' rolling, percussive funk groove and undulating electric bassline keep the action moving, but it's the tumbling guitar solos, toasty
keys, humid electronics and atmospheric feld recordings that catch the ear. Flip the 12' for 'Sunset Ballad', a near ten-minute epic that more than lives up to its' name. Soft, delay-laden acoustic guitar passages and yearning electric piano fourishes set the tone, before the Parma-based production duo
gradually ups the pressure via a shuffing groove, whispering acid lines and quietly bubbling synthesizers. It's undeniably rich and life affrming, but best appreciated while lying fat on your back.
Dirty Bolas will be featured on the duo's second album, which is slated for release in the fnal quarter of 2016. For now, you'll have to make do with these two slices of seductive, sun-bright brilliance.

Arttu presents CYBLO!

The Berlin-based producer is kicking off his label with a four-track single.

While he is perhaps not as name-checked as some of the hardware hawking house heads of modern times, Arttu Snellman has been working hard at gritty box jams for a good few years now. He first appeared under his Arttu guise in 2011 with the Nuclear Funk and Fear Diluted singles on Royal Oak and Philpot respectively, and then proceeded to wheel out tunes for 4 Lux and Chiwax over the ensuing years. Prior to the tough-edged pump of his current ventures, you could find Snellman indulging in a more laptop-centric kind of practice under the name Lump. This more minimalistic, glitchy house fodder could be found on labels such as Karloff, Morris/Audio and Süd Electronic amongst many others. Back in the here and now though, Arttu was last spotted on Clone Jack For Daze earlier this year with the Rave Dogz 12', and next up he's taking matters into his own hands.

Existing fans of Arttu will be more than pleased with the heavyweight, crunchy tackle that inhabits CYBLO01. This is dynamic business with same heft found on previous releases from Snellman, mixed in with the cheeky flair that has always marked his productions out in a crowded marketplace.

O.D.D., Modini and Casio Royale team up to wreck clubs across the galaxy! I glanced at the wrinkles on my hands as they worked the controls on landing pod. I'd aged considerably since we left Earth to track the alien. Taking an extremely dangerous short cut via the rim of a black hole allowed me to get to the outer regions of the universe before I turned geriatric and was too decrepit to navigate the ship. Now, as we approached Planet Simila, excitement burned within me. It wasn't just about meeting an extra-terrestrial, I was lonely. It had been many years since I'd spoken to anyone other than the ship's computer and here I was about to meet the first known life form outside our planet. I bumped the pod down on the terra firma as gracefully as I could. Intel confirmed Simila had an almost identical atmosphere to earth and that I'd be able to breathe on it unaided. However, precautious as always, I put the large dome shaped breathing apparatus over my head and pulled on the silver safety suit. I took my first step out of a spaceship in 14 years and there it was only yards away from me; a small green creature with large white goggle eyes on the end of two spindly antennas. If you'd asked a 5-year-old earthling to draw a spaceman it would have looked exactly like the thing stood before me. I had no idea whether it could comprehend English or not but nerves made me blurt out: 'Greetings from Planet Earth, I have travelled many light years to meet you, I...
'Here, never mind that pish, ya space helmet, you got the new DABJ Allstars Vol 3 on ya, it's got new stoaters fae O.D.D, Modini and Casio Royale. I've heard it's oot o' this world.'

Axodry was the duo of Andreas Talla 2XLC" Tomalla and Ralf "Ra/Hen" Henrich, who formed in Frankfurt, Germany in 1982. The two met at City Music record store where Talla 2XLC worked, supplying the local DJ scene with dance 12's. From 1984 to 1991 they released six maxi 12' singles. Both members were leading figures in the European electronic scene during the 80's and 90's, forming bands like Bigod 20, Tribantura, Micro Chip League, Moskwa TV, Pluuto and Robotiko Rejekto.

In 1988 they released the maxi 12' single You' on ZYX Records/Combeat. Influenced by Depeche Mode, Gary Numan and John Foxx, the duo crafted high impact Industrial, Synth Pop and Electronic Body Music. Their basic set up for recording at RaHen's home studio was a Moog Rouge, Roland SH-101, Teisco synthesizer, Linn Drum and Fricke sequencer. Ra/Hen performed dramatic vocals, which tell of a lost love found in dreams. Included here are the Beauty & The Beat Mix and the Beasty Dub Mix from the 1988 single. On the flip is the Razormaid Remix, performed by Art Maharg and Joseph Watt, that originally appeared on the "Welcome To The Technodrome' compilation in 1989. Also included is Mechanic', originally released in 1991 as the B-side for their final single Losing You'.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The record comes in a sleeve featuring the original black and blue cover art with hand-painted typography by Dr. Draw, The Gruesome Grapholoic. Each copy includes a postcard with with notes. What Else Is There To Say

Series-A was the duo of Sam Anderson aka DJ Maestro and Dave Webb aka Kid Fresh. Sam and Dave both grew up listening to the sounds of the Electrifying Mojo on WJLB in Detroit. They met in 1983 at a DJ gig that they were both hired to play. In 1986, they collaborated on the Nu-Sound II Crew project. After developing a friendship with Juan Atkins, they became hip to the emerging new club sounds that were to become electro and techno.Their subsequent project, Series-A, was named after different car model numbers, but also hints at the evolution of humankind into a new species.

In 1987, Series-A recorded the single Evolution 5 Technology' at Spectrum Sounds Studio in St. Clair Shores, Michigan. Their set up was a vocoder, E-mu Emulator III, Roland 909 drum machine, and an Otari 24-Track recorder. They landed a record deal with Satellite Records in Burbank, California, which had been founded by Pete Moore of The Miracles. After pressing 50 promotional copies, the label ran into financial problems, and the record never reached a full release. Taking cues Kraftwerk, Grand Master DST, Grandmaster Flash & Jam Master Jay, Series-A created dark electro beats in an era when sampling appeared to be the future of music. Lyrically the song addresses our species' entry into the technological age. For this EP reissue, the 7' Mix and Dub Mix are included on the A-side. On the flip is a new remix by prolific Ann Arbor producer JTC, an alias of Tadd Mullinix (aka Dabrye, SK-1, & Charles Manier). JTC speeds up and expands the song to seven minutes. Drawing on influences from Ron Hardy to Jeff Mills, he drives around suburban techno landscapes while simultaneously launching the listener into deep space.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is specially designed by Eloise Leigh and features a cyborg fossil motif with RGB color band and gradients. Each copy includes a post card with with notes.

House pioneer Thee J Johanz reworked his 1992 Irdial house classic 'Move Your Butty'. With remix by Prins Thomas and the sublime remastered 1992 original.

The original Move Your Butty (1992) gained cult status and the time seems right for a re-release of this gem. It was originally out on the legendary London based Irdial Records. Thee J Johanz decided to replace samples with synths, which gave him the freedom to create a totally fresh and moody remix, good enough to keep our butty's moving for the next 20 years. The strings of the Elka Synthex give you wings, while the typical Move Your Butty bassline is pumpin you up. Expect the unexpected from Prins Thomas' remix: very refreshing funky eighties electro vibes, or is it the sound of the future An original approach with an oasis of Move Your Butty references in the middle. An excellent remix of the remix.

Arthur Verocai's first appearance in the series - a double A-side featuring tracks from his incredible self-titled LP, soon to be reissued on Mr Bongo. Sylvia is a warm guitar-led instrumental orchestral samba, laced with percussion and woodwind.
Na Boca do Sol is a firm favourite from the LP - a perfect mix of drums, rhodes, vocals and strings.

The eight tracks on 'Versus' exemplify a remarkable cross-pollination of genres, a true testament to the intense, 'it takes a village' spirit of collaboration among the artists in the Wolf & Lamb aquarium.

The LP kicks off with "Real Love," an electronic duet with San Francisco's PillowTalk. A sparse, airy kick and lackadaisical, scale-climbing bass line complement a vocoder-drenched croon, evoking nothing less than an R&B version of Aphex Twin's Selected Ambient Works. In the album's next track, "Fo Porter," butter soft vocals from Voices of Black ("I want it/I need it/I just can't get enough/I hold it/I squeeze it/I just won't give it up") complement lush orchestral arrangements, doing for hip-hop inflected dance music what Metro Area does for disco.

"In The Morning," an after the after party, hands to the air entry into the house of god, will instantly conjure up for those lucky enough to have visited the Marcy the familiar image of Gadi's hands feeling up the wall in ecstasy while Zev soldiers through the groove. "Weekend Affair," perhaps the real standout of an all-round exemplary album, punctuates stuttering, oscillating synths with a ferocious cowbell and moaned vocals, continuing a long-standing New York tradition of sexualized Downtown funk.

The gorgeous "Serpentine," with it's kettle-drum compression worthy of Phil Collins's "In the Air Tonight" and atmospheric vocals from French chanteuse Rap Lisa, is rounded out by the it's a perfect ending to the album, a moment of calm before the sharks, always on the move, start circling again.

Real name Fernando Cappelletti, the Rosario native's early releases arrived on AirDrop Records, followed by appearances on Esperanza before launching

Savor Music alongside Jorge Savoretti in 2011. Since then the label has hosted the likes of Felipe Valenzuela, Martinez, Kastil, Marcman and Franco Cinelli whilst garnering a reputation as one of Argentina's key purveyors of house and techno.


The album's subterranean aesthetics are present from the beginning, with mesmerising tape echoes in 'The Real', deep pads in 'Trb' and the rhythmic energy of 'Rainforest'. 'Geibi' then demonstrates intricate pops and glitches before 'In Amour' settles for a compelling groove. 'Flavor' is then a percussive number with a hypnotizing appeal until 'Faiser' concludes the album with a punchy, dancefloor driven workout.

In 1779, Ludd is supposed to have broken two stocking frames in a fit of rage. After this incident, attacks on the frames were jokingly blamed on Ludd. When the "Luddites" emerged in the 1810s, his identity was appropriated to become the folkloric character of Captain Ludd, also known as King Ludd or General Ludd, the Luddites' alleged leader and founder.

Classic work from one of Brazil's greatest soul singers! Cassiano was one of Brazil's groundbreaking soul singers of the 70s - and although he's similar to Tim Maia, he's also got a smoother sound that approximates some of the best American soul vocalists of the time. This album includes the funky "Central Do Brasil", the extended midtempo groover "Onda", the semi-hit "Hoje E Natal", and the cuts "De Bar Em Bar", "Ana", "A Lua E Eu", and "Salve Essa Flor"

The French electronic music scene is having quite a renaissance of late and Toulouse based Zendid's debut ep for Infuse, the Understellite EP is indicative of the renaissance currently afoot..
Kicking things off, Second Way is a razor sharp blend of groove led house music with a main room sensibility whilst title track Understellite is quirkier in its approach, its anarchic b-line snaking throughout the track to lend a tripped out edge. Disco Dance rounds things off with a heady slice of bottom heavy phunk.

This is the remix edition of Dino Sabatini's recent second album "Omonimo" (April 2016, Outis Music).Like the recent album, this EP "Concentrica" features renowned Italian veteran pianist/accordionist Antonello Salis on the tracks "If" and "It All Ends Here", albeit here in different versions. Out of these two tracks the former is on "Concentrica" reworked by Dino Sabatini and the latter in a collaborative live variation between Salis and Dino Sabatini. Simultaneously with the announcement of "Concentrica" was it announced that Dino and Antonello are launching their new live project: Dino Sabatini & Antonello Salis present 'Electronic Opera Concentrica'. Howie B is veteran producer mainly known as a purveyor of early trip hop, having produced cuts from Tricky's debut album, Björk's "Post" and "Homogenic" as well as other major like U2.
After inaugurating the 'Opera' sub-series of his Outis Music label with the sublime 'Omonimo' double LP this April, Dino Sabatini has invited some choice allies to help define the vocabulary and expand the vision of the new imprint. The aforementioned album, which wove together Sabatini's atmospheric conjuring skill with the piano flourishes of Antonello Salis, already exhibits the label's commitment to dismantling the 'either-or' logic of contemporary genres by successfully merging a variety of supposedly irreconcilable styles, talents, and worldviews (e.g. both mythological and the technological perspectives). The follow-up EP, 'Concentrica', draws on the material from 'Omonimo' and delivers it into the hands of additional remixers in order to continue the Outis Opera voyage.

A. Mahmoud Ahmed - Aynotché Tèrabu / AA. Seyoum Gèbrèyès & Wallias Band - Mètch Ené Terf Fèlèghu

'Aynotché Tèrabu', featuring Equators Band, was original released on Amha Records, Amha AE 920 A in 1975. This one has been a firm favourite in our DJ sets since we have had it cut; driving Ethio-funk with big vocals and drums.

Mahmoud Ahmed also appeared on Africa 45, number 4 with 'Bemen Sebeb Letlash'.


'Mètch Ené Terf Fèlèghu' was originally released on Kaifa KF 002 A (7703) in 1973. Mid tempo, Ethio funk led by a low slung bass line and horns.

Both Seyoum Gèbrèyès and Wallias Band appeared previously on AFR45.014.

'Ye Mele' double sider, featuring Elis' version and an incredible Turkish cover by the wonderful Senay. Luiz Carlos Vinhas 'Le Mele' is an all time favourite of ours, and these versions take it in brilliant new directions.

Elis' starts in a similar vein to LCV, building with huge vocals and soaring synths, before dropping into a latin-esque section. Appeared on 7' in 1968 on Philips Brazil, not easy to find.

Senays psychedelic soul version is a B-side from a rare Turkish 7' released in 1972. Her classic 1980 LP Honki Ponki has just been re-issued too, which is equally as great.

The master jammer returns! Opal are so proud to release this set of four beautiful, sun filled pieces of pure electronic music. Ged Gengras' Personable project is the boiled down syrup of many years spent learning his craft within synthesis. Captured directly from live home studio recording, each track lives and breathes in it's own space, 'Gambetti' serves a light structure of rattling snares and resonant bass boops dressed up with gorgeous, almost gothic hanging notes. 'Window' is a funked slice of Ged at his best, referencing grime/garage structure but extended out into am 11+ minute epic that conjures buccolic idyll, like funky sunshine. B-side opener 'Oyster' flips the vibe inward into a more paranoid number, similarly long form and rolling but with all melody turning in on itself and riffs decaying away into thin whispers. To close; the stunning 'Cormorant' forms itself from a bed of padded out bliss. Reminiscent of Oval or Pinkcourtesyphone, the track haunts with a breathy sadness which pulses forwards into squash court squeaks and deep forward facing kick drums. Every time I listen to Personable I'm hearing someone who approaches their instruments as a player, no concepts or grand ideas, just playing a synthesiser and doing it so well.

Storming into our fifth release from the dirty shores of New Jersey, Green Village is proud to present Village Elders 001, a compilation EP featuring new material from artists who have already flown the flag for GV. The A-side is held down by the Plan B duo of DJ Spider and Dakini9, purveyors of the Metro Area's dirtiest and deepest house sounds. Spider gets toxic a second time, following his 2013 Instruction drop with 'Toxic Trace 2', a thickly layered deep house cut whose seedy percussion underbelly contrasts vividly with the more traditional deep house pads that accompany it. Dakini9's 'Lost Paradise' is dark and mysterious like its title, the hats, trumpets, and vocals emerging in tangled webs of dub effects, a strong follow-up to her dope EP for the label. Disaroen, a duo from Toronto, half of which previously appeared on GV, turns in the most barren of the four tracks, 'Serious Doorman', heads-down techno that crackles to life halfway in and an auspicious debut for a promising new group. Last is NJ heavyweight Nicuri, a rising star whose 'Ripples of Time' closes the EP in his signature searching, melodic style.

"The wall is high, the ditch is deep"

Just at the right moment, Bierbeben is finally back. But no! We're supposed to say "Das Bierbeben". Of course. But we have really been living for a long time in a world abandoned by predicates. It is a world of opinions, mostly of the sort that can be bought like (day-old) bread. The world hasn't even noticed. And fighting against this bread are guilds that feel betrayed by seared dough.

Such heavy thoughts on a day (like any other) when we actually close ourselves off inside and eat the shit anyway!!! On days like this, the Hamburg/Berlin-based act Das Bierbeben launches another new single - no, an EP, with the title: 'Schwarze Spinne'. Back to the old roots, strong, clear, and good. And very, very new.

The artists apparently (in the name of the people) only caved in after much begging and pleading from the Berlin-based (back then) trend label Shitkatapult. It's not true. There is only one reason for this music: and that is us. That's how it is.

After three albums and a triple sabbatical, Das Bierbeben is back with four tracks: shaped by truth, chiseled from insight, demanded by sense,
and right on the mark. But not this punk.

The new Analog Solutions 018 , label owned by the Spanish producer Eduardo de la Calle, will be released in May.This time presenting a various artists, by Kristina and ORBE, that combine an ep with a personal character, full of floating arrangements and inherently techno flavor, but sophisticatedly Dub. It seems that the label Analog Solutions will take refuge next references on collaborations lauching a series of various artists so better to be alert .

Different artists will take the place like Japanese Takairo Oishi, already on catalog reference 015 from the spanish label, and also appear in the reference 019 coming soon.

On side A we have 2 tracks of ORBE, the first A1 titled "Modern Cicles it is certainly an exercise in resilience and compromised to the authentic,
where Fernando Sanz aka ORBE develops a track infinite and penetrating where arrangements certainly exemplify the finest and purist made in Spain techno.

The second ORBE track A2 , entitled "Beyond The Ubiquity" reflects the good moment that Madrid based producer ORBE is going on with , and drops certainly an epic ideal for closing sets track with melodic nuances and highly useful for high voltaje DJ,S .

The novel but solid Kristina opens side B1 with his tool "Hydragea", where again, based dub elements, manages to build a disciplined rhythmic atmosphere , at the same time delicate, and that will delight lovers techno more fluctuating.

In the side B2 kristina it attack with "Dicentra" .A extremely funk track with multiple hi hats variants, and where the first minute of listening past, one enters a deep cerebral hypnotism .Dicentra is without any doubt one of the highlights of the record, where Kristina synthesized based revers again and again succulent and repetitive sounds, which make the reference number 18 Analog Solutions certainly Essential to find a place in the case of any dj.

Standing at the intersection where techno meets classical music, Ólafur Arnalds directs the newest Late Night Tales, set for release on 24th June 2016.

After releasing the breakthrough album 'And They Have Escaped The Weight Of Darkness', in 2014 he was awarded a BAFTA for best original music for the TV series Broadchurch. Arnalds' music has a quietude that seems perfectly apposite and that's evident here as each song drifts like an autumn wind towards the next.

Arnalds has enlisted the help of a few of his countrymen for the journey out west - electronic bands Samaris and Hjaltalín - and just as his records manage to combine the experimentalism and adventure of electronic music with a classical sensibility, here he weaves them perfectly, using tracks like Koreless' brilliant post-dubstep 'Last Remnants' alongside the enigmatic brilliance of Jai Paul. It's a perfect musical landscape that is eerie yet beautiful, as on Odesza's 'How Did I Get Here'.

As if Ólafur wasn't spoiling us enough, he offers up three exclusives: his own 'Kinesthesia I' and 'RGB' and 'Orgoned' by his techno side project Kiasmos. Alongside that we have the obligatory cover version (Destiny's Child's 'Say My Name') and also a Late Night Tales debut for David Tennant, reading a story by Anam Sufi, with whom Ólafur worked on Broadchurch.

When I was asked to do the next installation of the Late Night Tales series I thought "This will be fun and easy, only a couple of days work. No problem!". Six months later, I was still pulling my hair out in some kind of quest to make the perfect mix. As someone who has never really done mixes before, I learned a lot of things along the way and the whole experience was very inspiring. I decided to approach the mix in a similar way as I would one of my scores. This is the soundtrack of my life. I included songs from many of my friends and collaborators and tried to deliver a mix that represents who I am as an artist and where my influences are coming from - both personally and musically.'

Electro kicks, raw textures, ominous choirs: L' immaginario, Previsto's opening track, ties a bound between Martelli's two releases on Antinote, giving us one last glimpse at the uninhabited post-apocalyptic landscapes drawn in Menti Singole.
However, this time Leonardo Martelli explores a more urban universe, as the use of rap samples on Negli abissi and Lo Schema suggests. Martelli exploits their aggressiveness in a way that somehow reminds us of minimalist rap tapes from Memphis. The third track's title makes it even clearer: called Leggende Metropolitane, the song is
a trip into the darkest blind alleys of the city, an invitation to wander among human wastes, driven by its light kick.

La Luna, is the most contemplative moment of the album, offering us a meditative break before the nightmarish Il
registro, Martelli's brutal come-back to raw electro with a tune which depicts us a hellish engine room for expiating souls. Finally, the record concludes with Previsto, a haunted title track, filled with wailings that give us to contemplate a cruel vision of the urban misery we're stuck in.

Already played & supported by Laurent Garnier, Patrik Skoog, Marko Nastic, Jamie Behan, Patrick Lindsey, Martin Landsky, Ramon Tapia,

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records' softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Maik Richter was born 02.02.1987 in Karl-Marx-Stadt / Chemnitz / Germany. He lives in Switzerland since 6 years.
In 2005 Maik Richter gets his first appearances as Live-Act... Professional Music Production is the order of Maik R. The project is going to professional song composition but in which live performance will remain further a component. The sound of Maik R budges to minimalistical domains - the contrary to beginning of its musical representation. Gentleless and deep pressure sounds are significant for Maik's musical interpretation - the music should be stimulating you for dreaming. For new inspirations Maik R. leaves himself by other artists and external influences (e.g. society, nature) to enrich.

Known from his debut on Orbis Records, Grg is back with his typical warm & analog sound, we appreciate very much!
Born and raised in the GDR, today East Germany, Grg started making music in '94 using analog Equipment.
early 1995, he already played live-sets with 2 friends as Ensemble Acid Paul and later as "grg" on his own. He released on TeKknik Experimental and EAP records.
Still producing with the amazing MPC3k, he never focused on one single Genre. "it's just Electronic Music" he told us. A modest guy.

This EP contains a full side of each Artist.
The A-Side, by Maik, shows you how beautiful and wide dub can be. If you're fan of dreamy dub, you'll love this for sure!
The B-side is a melodic beauty. No words needed. Grg pur sang!
"Leidenschaft" is very dreamy soundscape based on smooth dub rhythm. Gentle, Subtle. Amazing. An ideal track to open or close the dancefloor. A secret weapon for laid-back moments with friends and a good glass of red wine.
"Klangbaum" feels like a statement. Deep, Dark, Swiss dub. Great stuff if you like the deeper side of dubby tracks.
On the B-side, "Chroma": a track that starts as a very basic yet surprising arrangement evolves in a very clean and sharp gentle melodic danceable track. Works on the floor as well in the background having dinner with openminded and electronic enthusiastic friends.
The second track "Fuer Pe Mi" could be categorized under trance, but it isn't. It's just an amazing track full of warm feelings. A track Grg wrote to celebrate the love between his and his wife. We're very honored he's willing to share this track with the rest of the world. Big respect.

Toms Due is talented duo from Etruria Beat crew , they re now back once again on their home label with two bangers ' Urania ' and ' Caliope ' and two remixes . One from Nina Kraviz´s Trip label young protégé Nikita Zabelin , the second from Micol Danieli , italian newcomer artist and owner of 030´s vinyl record label. On the A side sit the two original tracks . Urania is composed of a powerful techno groove on a simple but strong chord fitting perfectly on the climax of the middle of the track . Second comes ' Calliope ' , a Toms Due signature heavy rhythm with a happy techno synth melody , a must try for all dancefloors . On B side , Nikita Zabellin shows once again his minimal approach , pure analogue sounds with a bit of darkness. Mico Danieli´s chose to use a never ending rhythm that won´t ever leave you alone , a very elaborate arrangement . Keep an eye on this Italian lady producer !

Among the happy encounters that luck and destiny can bring, one of the most remarkable is the partnership between Jaime Além and Nair Cândia. The arranger, multi-instrumentalist, and composer teamed up with the singer to form a musical partnership that extended into their lives. The couple released two albums, the first of which was “Jaime & Nair,” from 1974. The album returns to shelves as part of the “Classics on Vinyl” collection from Polysom, under license from CID, on 180-gram vinyl.

Praised by Dori Caymmi and Edu Lobo, whose comments appear in the insert and back cover, the album was produced by Durval Ferreira and recorded at Somil Studios. Its twelve tracks are all written by Jaime, except for “Das Minas” and “Zambumba do Nego.” The duo alternates on vocals and showcases a distinctly Brazilian sound in each track. This is an essential work for lovers of national music.

Favorite Recordings proudly presents this new official album reissue of Shine the Light of Love by Googie & Tom Coppola: A beautiful soaring soul album sublimely produced with a sweet LA groove!

Thomas Wilkinson Coppola (aka Tom Coppola) is a pianist and arranger, known for being a principal member of the funky prog-jazz group Air (not to be confused with the French duo). He began working as a musician in Manhattan in the 1960s, where he met Carolyn Brooks (aka Googie Coppola). If they only released one self-titled album with Air in 1970, and Shine the Light of Love as a duo in 1980, these two amazing talents have collaborated with artists such as Herbie Mann, Lenny White, Flora Purim, Ray Barreto or Jeremy Steig to name just a few.

Shine the Light of Love was also released in 1980 on Columbia, after the couple left Air to become born-again Christian. A real lack of promotion from the label caused the record to disappear, however it was, in many ways, years ahead of their contemporaries. Googie's vocals are an absolute delight - with a Minnie Riperton-esque sort of feeling - and the overall album's got some nice jazzy touches and a sublime, sophisticated approach to the overall sound, while never falling into commercial.

An underrated masterpiece that definitely deserved more attention, which is why Favorite Recordings is deeply honored today to present it in a fully remastered version, housed in a fine gatefold sleeve including original notes.

When Kompakt came across Amsterdam-based Harm Coolen and Merijn Schotte Albers aka WEVAL back in 2014, we were blown away when we heard their slow-burning, darkly emotive tracks.

Their debut EP 'Half Age' on Atomnation featured painfully intimate and surprisingly kinetic electronic chamber pop that convinced us they were a perfect fit in Kompakt's family. Following two widely acclaimed EPs for Kompakt and playing numerous festivals including DGTL, Reeperbahn, Iceland Airwaves and Piknic Electronik, we now see the two tackle their self-titled debut full-length WEVAL. What you have before you is not a mere collection of tracks, but a complete listening experience with organic flow, emotional heft and a narrative thread.
Smitten with WEVAL's uniquely personal and catchy approach to producing dark electronic music, it didn't take much to win us over... and so came WEVAL's acclaimed 2014 label debut EASIER EP (KOMPAKT 318), followed by the bold and beautiful 2015 offering IT'LL BE JUST FINE / GROW UP (KOMPAKT 344) which saw the two soundsmiths digging deeper into the granularities of electronic funk than ever before. However, Harm and Merijn's music - while astonishingly fully-formed even in its earliest stages - always seemed destined for more, a bigger format, more space to explore the nooks and crannies of their rapidly evolving sound cosmos. Simply put, they needed to think about an album and their beloved living room studio wasn't cutting it anymore.
An old school building became WEVAL's new home, repurposed to house small creative businesses - but in the summer of 2015, it was abandoned most of the time, with everybody out in the sun while our heroes turned the building's attic into a sweet spot to make some noise, have 24-hour access and lose track of time. And apart from a sketchy tenant being evicted, the occasional soccer game with friends and live gigs across Europe, there really was no interruption to the focussed vibe. It's not like they were looking for distraction anyway: "working on the album all by ourselves in this bloody hot attic was all we had on our mind", the artists admit. And they decided that their album shouldn't sound too clean: "We try to find the beauty in imperfection. It makes things sound more human".
Weval draw their inspirations from no single genre of music but a cumulation of music that inspires them. The results present an astonishingly coherent vision - cuts like the dramatic THE BATTLE, bass growler I DON'T NEED IT or the trippy epic MADNESS share the same DNA of zestful nostalgia, a knack for immersive sound-sculpting and that certain kink in the groove. They also feed on deeply personal experiences and moods, as exemplified by the haunting electronic ballad YOU'RE MINE, the carefully layered, polaroid-tinted JUST IN CASE or the beautifully voiced closer YEARS TO BUILD. And sometimes, it's just an old, out-of-tune piano that stands in the hallway: "Whenever I'd pass by it, I couldn't resist playing it", says Merijn, "so Harm decided to start recording and it became an integral part of YOU MADE IT (PART I)". No doubt about it: this is WEVAL's most powerful and organic material yet - which means a lot, considering the amount of skill already on display in their small, but weighty portfolio.
(de) Als sich 2014 in Amsterdam Kompakts Wege mit denen von Harm Coolen und Merijn Schotte Albers aka WEVAL kreuzten, waren wir sofort Feuer und Flamme für ihre schwelenden, emotional aufgeladenen Tracks. Ihre Debüt-EP "Half Age" auf Atomnation präsentierte intimen und überraschend kinetischen, elektronischen Kammer-Pop, der wie angegossen zu Kompakt zu passen schien. Nach zwei vielbeachteten EPs auf dem Label und einer Reihe von Festvialgigs (inklusive DGTL, Reeperbahn Festival, Iceland Airwaves und Piknic Electronik) nehmen Weval nun mit dem gleichnamigen Release ihr erstes Album in Angriff. Und legen dabei nicht einfach nur eine Ansammlung von Tracks vor, sondern kreieren eine komplette Hörerfahrung mit organischem Flow, emotionalem Gewicht und einm roten Faden.
Angetan vom einzigartig persönlichen und mitreissend düsteren Klang WEVALs brauchte es nicht viel um uns zu überzeugen... und so kam es 2014 zum gefeierten Labeldebüt EASIER EP (KOMPAKT 318), gefolgt vom kühnen und wunderschönen 2015er Release IT'LL BE JUST FINE / GROW UP (KOMPAKT 344), für das die beiden Soundtüftler tiefer denn je in die Granularitäten des elektronischen Funks abtauchten. Nichtsdestotrotz - und obwohl sie schon von Anfang an ausgereift klang - schien die Musik von Harm und Merijn auf dem 12"-Format stets bestimmt für mehr: mehr Freiraum um auch die äussersten Winkel ihres rapide expandierenden Soundkosmos zu erkunden. Sie mussten schlichtweg zum Langspielformat wechseln, und ihr heissgeliebtes Wohnzimmerstudio konnte da nicht mehr mithalten.
Ein altes Schulgebäude wurde schliesslich WEVALs neues Zuhause, umfunktioniert für kleine Kreativunternehmen - doch im heissen Sommer 2015 stand es zumeist leer, da alle draussen in der Sonne badeten, während unsere Helden im Schweisse ihres Angesichts das Kellergeschoss in ein lärmfestes Aufnahmestudio verwandelten. Mit Studiozugang rund um die Uhr liess es sich bestens die Zeit vergessen. Und abgesehen von der Räumung eines zwielichtigen Nebenmieters, dem gelegentlichen Fussballspiel mit Freunden und natürlich Live-Gigs in ganz Europa, gab es auch keine Ablenkungen vom hochkonzentrierten Kreativfluss. Ablenkungen, die das Duo ohnehin nicht suchte: "ganz allein in diesem verdammt heissen Keller am Album arbeiten war alles, was wir im Sinn hatten", geben die Künstler zu. Und sie entschieden sich, dass ihr Album nicht zu sauber klingen sollte: "Wir versuchen die Schönheit im Makel zu finden. Es lässt die Dinge einfach menschlicher wirken."
Weval beziehen ihre Inspiration nicht aus einem einzelnen musikalischen Genre, sondern eher aus einer Akkumulation von Musik, die sie inspiriert. Die Ergebnisse zeichnet eine beeindruckend kohärente Vision aus - Aufnahmen wie das dramatische THE BATTLE, der Bassknurrer I DON'T NEED IT oder die Trip-Saga MADNESS teilen diesselbe DNA aus schwungvoller Nostalgie, einer Schwäche für immersive Klangschnitzerei und einer gewissen Delle im Groove. Sie nähren sich auch aus zutiefst persönlichen Erfahrungen und Stimmungen, wie zum Beispiel bei der eindringlichen elektronischen Ballade YOU'RE MINE, dem vorsichtig geschichteten, polaroid-gefärbten JUST IN CASE oder dem wunderschön gesungenen Schlussakt YEARS TO BUILD. Und manchmal ist es nur ein altes, verstimmtes Klavier, das im Flur herumsteht: "Immer wenn ich dran vorbei lief, musste ich darauf herumklimpern", erklärt Merijn, "also wurde es ein zentraler Bestandteil von YOU MADE IT (PART I)". Kein Zweifel: dies ist WEVAL's stärkstes und organischstes Material bisher - was durchaus was bedeutet, wenn man das Talent bedenkt welches bereits in schmalen, doch gewichtigen Portfolio der Band steckt.

Following his NAGAN belter and fresh from his recent appearance on the Boiler Room, CAIN returns to India with two superb rhythmic releases on HIGHLIFE.
Early support from Ben UFO, Optimo, Midland, Pearson Sound, Studio Barnhus, Honey Soundsystem, Cowboy Rhythmbox, etc.

Delivering Verse III, Synthek concludes the first trilogy on his newborn imprint STK, showing once again is unrestricted approach to modern techno, which spans from bleeping offbeats to more stompin' and melodic tracks. 'Distress Mode' opens the record with a slow and solemn intro, ripped off by broken beats and obsessive bleeps, which escalate quickly into sonic madness. 'Diverse' closes the Aside with a somehow funked out mood, sounding causal at first, but recomposing once hihats break in, into a slick syncopate cut. The flipside is definitely more club oriented, opening with 'Reflection', where heavy beats and haunting melodies build up ceaselessly momentum. Last minimalistic cut : 'The End' finalises the release with propulsive rhythms designed to twist the dancefloor.

For their latest slice of saucer-eyed Balearic perfection, Leng Records has looked to the North East of England for inspiration.
Lizards is a freshly minted project from Newcastle-based twosome Lee Forster - better known as one third of Balearic house combo Last Waltz, whose impressive releases have appeared on World Unknown, Futureboogie, Endless Flight and Is It Balearic - and long-time friend James Hadfeld of Nein Records' Elizabeth Collective. Despite writing music together on and off for the last 15 years, the duo only made their debut this month. As frst 12' singles go, their Tanni EP on Not An Animal was something of a gem, and featured two winding, ear-pleasing chunks of dreamy, sun-kissed Balearic disco loveliness. Their Leng debut is just as strong. A-side 'Frontier' sets the tone, layering bubbly, psychedelic electronics, vintage synthesizer arpeggio lines
and strummed acoustic guitar riffs over a head nodding, 102 BPM drum machine groove. By the time the jammed-out, eyes-closed electric guitars and jaunty synthesizer melodies come in, you'll be lost in the music. Flipside 'Coming In' stares at the sunset wistfully, effortlessly capturing the twilight humidity associated with lazy Croatian festivals and beautiful Bali beaches. Analogue synth lines futter in the breeze, whilst picked guitar lines,
spinetingling chords and a druggy bassline move the action forwards at a pleasingly loose and groovy pace. Go on, hug a stranger; after all, we're all friends in Lizards' baggy, melody-rich world.

Thomas Urv and Miss Mostly's Norwegian techno imprint PLOINK drops the second in its trilogy of releases celebrating the brand's 20-year anniversary.
Following on from the first release that featured renowned Scandinavian artists such as Prins Thomas, Mental Overdrive, Urhaug, Nordenstam, Christian Tilt and Hutmacher, the label's next outing sees five more
members of the local scene make appearances.
First up, promising newcomer Saftronic drops the chuggy 'Exit', incorporating soaring synths and spellbinding atmospherics, before PLOINK founder Thomas Urv, who's also preparing the label's debut album, delivers a dense low-end and infectious whirrs in 'Set Lucky'.
Known for his longstanding contribution to ambient and techno with releases on Beatservice, Club Craft, Berserk Fabric, Diametric and Silent Season, renowned Norwegian producer Mind Over MIDI crafts intricate
arpeggios and echoing effects in the arctic inspired 'Ice Plains'.
Releasing on PLOINK before, KSMISK, who are also known as Trulz & Robin, conjure up a sinister production named 'Yme' that features dusky aesthetics and twisted nuances, until Argentinian born CementO concludes the package with the undulating 'Nordisk Skjønnhet'.

Heavyweight soul providers Fat Freddy's Drop are about to take flight once again with the worldwide release of new album Blackbird on 24th June 2013. Blackbird is the third full-length release from the New Zealand band and will see Fat Freddy's Drop exceed half-a-million album sales worldwide, the result of playing over 800 shows in their career-to-date, clocking up 412 appearances in Europe, 27 Australian Tours and over 300 shows in their homeland.

Fat Freddy's Drop celebrate a decade of European touring by releasing Blackbird in East London. The already sold-out show at Village Underground attracted over 4,000 hopeful ticket ballot entries in just 24 hours for only 500 lucky spots.

Featuring nine tracks, Blackbird was written and recorded at Bays, the band's own studio, which was one of the last vinyl pressing plants in New Zealand and then an apostolic church. Fitchie says, 'What you hear on the album is the sound of Bays, the room itself, the vibe of the place and the performance we can get out of the band in there.'

'Blackbird is truer to FFD's musical philosophy than anything else we've done', says Chopper Reeds. 'The song structures are open and unruly - just like our live shows - whilst we've pushed ourselves to deliver rich and deeply layered arrangements that showcase Joe Dukie's exceptional voice. We feel totally at home melding together this unholy mix of disco, rootsy dub, blues, soul and electronic funk - it's what we do.'

Fat Freddy's Drop have released two studio albums, 'Based On A True Story' (2005) and 'Dr Boondigga & The Big BW' (2009), two live albums, 'Live At The Matterhorn' (2001) and 'Live At Roundhouse' (2010) and a stash of limited edition vinyl singles, including the now legendary 'Midnight Marauders' and 'Hope For

After the first Ricardo Tobar remix edition (featuring remixes by John Tejada and Fairmont) on Cocoon Recordings we are proud to present the next chapter with remixes by Lawrence and Midnight Operator (Mathew and Nathan Jonson). 2016 seems to continue as we started it: With high quality music by great artists presenting us amazing techno in an unique and tasty style. Midnight Operator, the joint project of the two Jonson brothers, picked Tobars Angora' for their remix and the result appears very fresh and housey. Their bassline programming adds a nice italo-disco vibe to their version of Angora". Together with their strings and melody-parts the Midnight Operator remix is turning into the perfect soundtrack for the upcoming spring nights: We hear flowers, birds, butterflies and feel the warm air ... not to mention that our feet start moving and dancing. Dial mastermind Lawrence contributes the fourth remix to Tobars album: His version of Red Light' explores the emotional side of techno and house. We dive into deep spaces, spheric melodies and an atmosphere close to the vibe of the great works of Kraftwerk - this is impressive! Lawrence Red Light' version presents the musical side of techno to us - a timeless piece of music with a chill-out flavoured beat and synth programming.

After his manifold debut in 2009, followed by a second album "True Life / In Flames" with focus on the grand piano, Dial Records is pleased to announce Christian Naujoks's third solo album WAVE, a dedication to one of the artist's essential instruments: the electric guitar.
Inspired by The Durutti Collumn, John Fahey, Vincent Gallo, Azalia Snail and David Grubbs, and many others, Christian Naujoks breaks the boundaries between songwriting and minimalism, folk music and contemporary art. The recordings at Electric Avenue Studios were accompanied by engineering master Tobias Levin, known for his works on Kreidler, Faust, Felix Kubin, Pantha Du Prince & The Bell Laboratory, just to name a few. With WAVE Naujoks and Levin created a sound-seductive state of the art production, ten post-minimalist guitar pieces with an appearance of the artist's signature piano style on two of the songs.
Christian Naujoks recently worked on productions with his band Sky Walking (with RVDS and Lawrence) and released a piano tape on Martin Hossbach's imprint. After a series of concerts at Berlin's Berghain and HAU, the Golden Pudel Club in Hamburg, performances and collaborations around the globe including Israel, Mexico, Vietnam and the Philippines, he returned back to his studio in Hamburg in 2015 where the WAVE started.

Last year saw the mysterious Garage Shelter make their debut appearance on Skylax, and little is still known about them! All we know is they are back with some freshness on the Skylax Classic sublabel.
First up is Bring Back Love, a track that will sink its claws in with that infectious vocal sample hook. Sticking with the old school sample vibe is the Lonely Heart dub of Attempt; it's a bit more mellow but still has plenty of groove in it. Friend of the Garage Shelter, DJ La Foudre, appears over on the B side with It's Alright (Signal St Mix). Still on that catchy sample tip, it features one of the grooviest bassline and funky guitar pairings I've heard in a long time. Next up, Perception 66 is a smooth house affair from yet another friend, Asa No Hikari. Rounding out the package is Garage Shelter's own You (Still), a dreamy pad-driven track that may indeed be the pick of the release. While we don't know much about Garage Shelter, we can't help but look forward to what they come out with next!

Apotek Records takes a conversant and pliable approach to this Dialectic EP. Jerome Sydenham opens the technological fray with the title track "Dialectic". Deep swinging rhythms coupled with a deeply rooted dub vocal truly define its essential neoteric sensibilities.
Jerome Sydenham's remix of Macroism's "Drone" is a prime example of take no prisoners Berghain Techno - pure rumpus.
The B-side introduces the sophomore single from hot new Berlin talent Non Reversible. The track "Kuro" is absolutely unapologetic in its discharge of nebulous dark thunder techno. Powerful! On the last cut, Jerome Sydenham gets back behind the splicing desk, breaks out the razor blades and deftly edits the Echoplex classic "Pitch Break". The results is transcendent hypnotic techno bliss.

Metrist AKA L. SAE AKA Joe Higgins brings the noise in this tech-punk sound-clash straight outta' Hades. His background in bass music of all moulds can be felt throughout but the round edges of dubstep have been fragmented into harsh shards, prismatic in approach, each track swaggers and pumps under itâ s own mad weight. Jabbering speak & spell voices lead into tape busted kicks and sinuoid crow calls. Seismic filtered drums and a broken mirror landscape of screech synth and dull tonal slope. The record is a vivid nightmare, absurd and chilling.

Frankfurt's finest joins Bokhari with a nod to 90's LTJ Bukem coming at you with the kinda track that would've taken the doors off your XR2 : Remixes come from a Pepe Braddock-eque Dorylus, and a steroid-induced banger from the one and only Capracara. Mastered by Matt Colton.
Artwork by Spencer Fenton, with each sleeve featuring a uniquely ordered combination of hand applied coloured stickers.

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.

Michigan's ambient and soundtrack specialist John Beltran introduces a new LP that will be co-released by Delsin and his digital only label Dado Records. Entitled Through the Blinds, it features ten tracks by Blair French (who also appeared on his Music For Machine compilation on Delsin last year) and will be released on January 18th 2016. Blair French aka Dial.81 is an experimental producer and visual artist who won an award for his score of Detropia--a documentary about his home city of Detroit--and now makes his ambient debut. As you would expect of such a project, it boasts suspensory and near spiritual pieces of ambient music with angelic chords and glassy textures. There are also more frosty cuts that sound like a chilly Autumn walk, tracks that feature emotive neo-classical piano pieces and suggestively rhythmic compositions that sooth your mind. The second half of the record touches on church like passages of synth heavy sounds, strikingly sad violins and lo-fi arrangements that sound, one hopes, a little like what you might hear as you pass from this life to the next.

The mighty Brassfoot (Apron) going overseas with a devestating ep on the Dutch Bio Rhythm imprint, delivering five grim yet hedonistic & intense post-modern voodoo jack tracks, kickstarting what appears to be the labels' second phase.

12 track Album from Derrick Harriott released by Dub Store Records

'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.

Ambient techno exponent, A Sagittariun, fires off another full-length album transmission this April on his own Elastic Dreams label. 'Elasticity' is the Bristol based artist's second long player, and the follow up to his acclaimed 2013 debut, 'Dream Ritual'. Having last released a trio of singles in early 2015 (for Hypercolour, Secret Sundaze and Elastic Dreams), 'Elasticity' marks a return for A Sagittariun, and fans of the slippery and elastic sounds that hallmarked his debut album will not be disappointed. 'Dream Ritual' helped firmly establish A Sagittariun as an artist whose musical chops and integrity operate largely outside of the mainstream and a producer who chooses to put the music firmly center stage, whilst opting to remain relatively anonymous within the music scene. A Sagittariun explains, Elasticity was recorded over quite a short period, but the sketches and ideas have been germinating for some time, so sonically it's very coherent and consistent and moves in a way that I personally like albums to move in, with a narrative and flow that holds you right to the end. The recipe for Elasticity was always to be malleable and pliable with the sounds and tempos, for me it's all about the listening experience, and creating a landscape and a world within that one can really get deep into and explore, it's optimistic and progressive music for the head, heart and feet. I really do advise the listener to don headphones and take the trip with me".

Written and produced by Dave Clark

Celebrating our 20th release, Glasgow's Dave Clark returns to Optimo Trax as Sparky. He was responsible for the third release on the label as LUMA which featured the club smash "John Broadwood" and recently had another big club hit with "Signals" on Numbers. We are delighted to welcome him back in what is a contunuation of a relationship that stretches back further than we care to remember.

All four tracks here are certified dancefloor winners; from the reach for the lasers, kickless "Things Fall Apart" through the synth rhapsodies of "Black Swan" and "My Prophet", climaxing in the jacking "Seven Daggers". All killer, no filler is often a trite cliche in these blurbs but is entirely true in the case of this EP.

Four track 12" EP (and digital release) released on April 22nd 2016. Distributed by Kompakt and Rub A Dub.

Hailing from a small village near a mountainous place where the borders of three nations encounter, the machine loving Jens Tozzberg now arrived at Fachwerk Records. With his background as club and festival promoter and wih travels through different musical experiences in the wide range from Drum & Bass to Dubtechno his newest project at Fachwerk contains an eclectic live act with influences from Germanys earliest rave culture, chain reacting echoes and heavy bass techno. Also after many years as world traveling DJ he keeps on searching for new ways of DJing, channeling his approach as a producer into his peaktime nightclub performances.

The analog beat-grinder from Japan, Miclodiet, is back on Genesa Records with his distinctive, gnarly
sound. Yasunobu usually releases his material on his own cassette-only label, Sludge -Tapes, but during the last 2 years, you were able to see him appear on GENESA005V alongside JoeFarr, VSK & the label boss Scalameriya or on our digital only division with a complete EP, remixed by Martyn Hare, Alhek & Forest People. For his debut vinyl EP, he prepared some stripped down, ultra minimalistic techno stompers infused with recognizable hooks and drones. An absolute must-have for dj's who are searching for refreshments to add to their crate!

During their European tour earlier this year, Canadian duo Jokers Of The Scene stopped over for a couple of days at Club Bizarre studio in Northern France. The two pair of producers locked up and came up with Betaville and Breakwater, two killer lo-fi and spaced out tracks. Betaville is a fuzzy dream that will make you dance in slow motion with your head in the clouds. Boasting a strong melodic and nostalgic feel, it unfolds its warm analog synth pads, old school sequences and drum machine to psychedelic effect. Imagine Boards Of Canada wanting to make you dance.. Even slower is Breakwater, a dirtier, chunkier track that ditches the softness of Betaville in favour of a more 'in your face' bass line and all together rougher attitude. It chugs along to old fashioned beat box claps and percussion and quirky synth melodies. Lastly Betaville gets the Timothy J Fairplay treatment of being violently pulled apart and chucked in all corners. Reminiscent of early Chemical Brothers music, a heavy beat slaps over agressive drugged up analog sound effects while a repetitive, haunting melody screams on top and reverberated vocals whisper in your ears. Scary.

Born in Canada, Fatima Camara was raised in a large Portuguese family where traditional song and dance were as integral to her family gatherings as food, laughter, and wine. Before We Sleep, her debut album, is as a collage of the diverse musical inuences that have dened each chapter of her storied life: bass guitar lines wrought with the new wave sound that marked her formative adolescence, drums that echo the electronic music she migrated to during her early adulthood in Toronto's dance music scene, and an overriding melancholy that signals the conicted feelings she has when considering the thin layer of dust that has collected upon her chair at the family dinner table since she made her move to Berlin.
Apart from music, Fatima appreciates happy accidents, blended horizons, and unlit corners.

Supernovas originally formed the basic chemical elements which subsequently merged in a myriad of variations, creating life as well.
All the components of our world descend from that single original replicating molecule.
In a primitive stage, a functional distribution of energy was regulating the self-selection as the only workable explanation for the design and variety of all life on this planet. Such harmony meant prosperity of hearth as a whole unique entity, a perpetual thriving of life cycles.
Meanwhile, humans developed their own ego to the point to think that they were fallen angels rather than risen apes. Their unique highly developed intelligence made humans the only rational beings on the planet, but it is by rational choice that they consciously keep inflicting pain and humiliation, a planetary torture running through the ages.
Proliferation of humans doomed the dynamics, tampering with the energy fluxes and distorting the relationships amongst the entities. By rationally choosing to ignore their native compassion, humans become guilty and they self-sentence their own end. We have gone too far and sacrificed too much to disdain the future that we designed now, while the metastasizing process of the planet grows, the past increases and the future recedes.

Re-Release of Losoul's classic 'Synchro'.

Previously released on Playhouse Records in 1998. Remastered and Reissued. Get yourself a new copy of one of the best kept secrets between Berlin, Offenbach and Detroit..

In the years since the release of Adrian Younge's Something About April, he has been coined America's black genius: the evocation of analog vestige in a digital era. His majestic music has garnered him reverence, likened to Ennio Morricone's best work and the Beatles' tenacity to create new sounds. Fortuitously, Something About April has made an indelible impression on modern vinyl heads and producers alike, being sampled by DJ Premier, Jay-Z, Common, 50 Cent and more. The Something About April brand is an axiom to the modern 'Breakbeat' and Linear Labs is happy to announce its successor: Something About April II. Recorded with Younge's collection of rare instruments, Something About April II advances his musical paradigm with enterprising concepts and grander compositions — it synthesizes the boundaries between dark American soul and classic European cinema. With effervescent conviction, Younge executes with an array of entrancing vocalists: Laetitia Sadier (Stereolab) and Bilal perform duets on 'Step Beyond' and 'La Ballade,' reminiscent of Serge Gainsborg and Jane Birkin; Raphael Saadiq blends 'Black Jazz' vocals with psychedelic soul on 'Magic Music;' Israeli star, Karolina, delivers haunting chants over concertos like 'Hear my love' and 'Winter is Here;' Loren Oden croons as if the apparent ghost of Donnie Hathaway created one last love song, 'Sandrine.' Younge is the experimental spirit of the modernist vanguard, looking at the past to create the future. What this album extrapolates, from vinyl culture, will become further magnified by its sampling down the line. Something About April II will replace the former as a holy grail for producers and collectors alike.

In autumn 2015, Swedish dream-pop duo Korallreven bid us all farewell by releasing the "round-the-world-in-a-day" sounding final single Here In Iowa, alongside memorable shows in New York City and Scandinavia. Now, they return for one last time with a disco dub dream remix of said song by the mighty Peaking Lights. This forms part of a 12" EP released by Be With Records. The record - limited to just 500 copies - will see its worldwide release for Record Store Day on 16th April 2016.

The 12" will also, for the first time on vinyl, include Korallreven's breathtaking cover of Guns & Roses' November Rain from 2014 as well as Shine On, the duo's rework of their own 2010 single Honey Mine, featuring Taken By Trees' Victoria Bergsman.

From the guys:

"Hard to say if Here In Iowa was an end or a start of something new. You'll see! Whether or not, we hold it as one of our highest heights and, after this beautiful season, we truly deeply madly felt that it was worth some extra limelight. And hey! Thanks for the remix, Peaking Lights! It's so wonderful! Life surely is."

James K is a stranger to obviousness. Over the past few years the New York native has quietly honed her sound and peculiar aesthetic. Equally organic and electronic, her sound is a combination of odd dreams, industrial beats and vocals, both incomprehensible and appealing, with a thick layer of glitter on top of it. James K is a concentrated dose of emotion mixed with sorrowful iciness, which in turn ties together ripped, broken, morphed and enchanted samples. James K stands for a fusion of visual and sonic elements, deeply rooted in conscious art practice and downright freak-out. James K creates a mythology of her own.
'PET,' her first LP due out in early 2016, will be a co-release with Dial and her own label, She Rocks! A special edition of the album with added bonus tracks and interludes with be released on cassette through Canadian label 1080p.
In James K's words: 'The underlying desire of 'PET' divides into two parts: an escape into ethereality and a mischievous denial of my own experience. It narrates my search for honest expression by means of the premature denial- a childish excursion into a world of monstrosity and innocence.
PET reflects my mental state during its production - as a person, I was owned, objectified and hurt by other, and that wound I then unwillingly internalized. I turned to my music as a way to dissect these thoughts. The product became my possession, or 'pet.' In retrospective, this process gives me strength over myself; love—knowledge and wisdom enacted. The arrangement of the music and the PET itself relates to my endless struggle, namely, my attempts to reclaim myself.'
Her 'Sokit' 7' is a double track single for her album, which she released last Spring. James K is featured on the recent compilation released by Dial Records for their 15-year anniversary, and a mini LP of her noise pop project SETH (along with producer Gobby), was also recently released by label 1080p in June, in cassette and digital form. She rocks.

2016 reissue of an earlier album by Apparat, aka Berlin's Sascha Ring, who's also singing in Moderat, originally released in 2007.

"Apparat has had one hell of a year. His collaboration with Ellen Allien, the critically acclaimed album Orchesta of Bubbles, forged electrifying new connections between techno, electro and pop music. They developed the material into an electrifying live show that wowed clubs and festival audiences the world over. Apparat kept honing his solo show at the same time, delivering a powerful electro/techno laptop attack that would leave crowds twitching in its wake. And somewhere, in between all those activities, he managed to record Walls, his first solo studio album since 2003's Duplex. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming."

Eleanore Mills is a classic Soul singer with a sweet and sophicated voice, who recorded her debut album 'This is Eleanore Mills' for the Sylvia Robinson's All Platinum subsidiary Astroscope in 1974. The album has a broad range of Soul and early Disco/Soul cuts. It did not sell in vast numbers on its initial release but has become heavily in demand in the last 20 years and appeals to a broad spectrum of Soul and Disco collectors and DJ's.. Original copies are highly collectable and in mint condition now sell for around £300- £400. Eleanore went on to record with Norman Connors on his 'This Is Your Life' album in 1977 (recently issued on CD by Soul Brother) and then developed into singing Soulful house having a huge record with 'Mr Right' in the late 80's.

Springintgut's album 'Where We Need No Map(Pingipung37, April 2013) has been reworked by a motley set of musicians. This EP features Dub Disco, Deep-House and Skweee remixes of the cello-heavy compositions which have originally been recorded during tours in India and Japan.

Mit seinem 4. Release ' Introducing' auf Zaijenroots präsentiert Matt Nowak ein herausragendes DJ Tool für ein breites internationales Publikum der Elektronischen Tanzmusik. So verschieden wie die Künstler selbst, so verschieden sind die 4 Tracks. Toyz on Acid - Hawaiien Teacher, Das mysteriöse Duo mit einprägsamen Namen kreierte eine narrative Techno Hymne, die mit Sicherheit in die tiefsten Tiefen der Darkrooms der Clubwelt vordringen wird. Eine punchige Sp1200 Kickdrum und ein düsteres Rauschen wird immer wieder unerwartet mit futuristischen Sounds und einem treibendem Shaker begleitet. Ein innovativer Dancefloor Kracher! Must have! Heroine from Venus mit Sabine Hoffmann ist eine acosmische Reise mit treibendem Breakbeat und knackigen Snaredrums. Warme sphärische Synthsounds unterstreichen die anmutige und heroische Stimmung dieses Tracks. Matt Nowak und Apoena aus Brasilien haben mit Dub Rout' einen Big Room tauglichen Dub Techno mit Primetime Qualität geschaffen, der sicherlich kein Tanzbein still stehen lässt. Durchgehende Hats und eine extrem punchige Bassdrum machen diesen Track zum perfekten DJ Tool. Happy Handsome von Matt und SRA SRA rundet die Platte sehr gelungen ab. Ein melanchoilisch, treibender Techno Track, nach Zaijenroots Manier. Die klatschende Snaredrum und deepe Moog- Bassline, bringt die nötige Wärme auf den Techno Dance Floor zurück, die heute leider so oft fehlt.

We here at L A MISSION like to whip out our politics in public. We kinda get off on it. And so we're especially excited to slip you B EANER' s first solo outing on the label . From track titles to sound samples to magazine articles to packaging, this record / magazine / performance package highlights im/migration, the brown experience, and stripped identity. La Mission knows from brown. The collective is run by a crew of devastatingly handsome deviants whose racial identity is, well...it's complicated. We've lived our lives being neither white enough nor brown enough to fit neatly into racial categories. And so we took some time out from our usual exploits (like our MultiDirectional Playground Tire Swinging' orgies and Elected Candidate/Dead Pig/HungerGames slashfic) to focus on brownness. People started talking about cultural appropriation' when Miley Cyrus started twerking. We couldn't throw shade fast enough. But cooptation and exotification runs rampant in all genres of music-including dance music. We here at La Mission feel pretty fucking awkward about it. We've seen queerofcolor culture turned into whitedudebro business ventures. And as brown folks with stripped and fragmented identities, we're never sure of what culture is ours to use and abuse, anyway. Can we honor our own roots if they're messy and broken When we're inspired' by the music of other cultural groups, is that solidarity or stealing Nothing we have is whole. We can only work with the fragments we have at hand, well aware that there's unfinished business... BLACKMOUTH is the live version of the classic soul/disco sampling house tune. Take the work o f o t h e r s w h o c a m e b e f o r e y o u a n d t u r n i t i n t o a d a n c e a b l e j a m . G O T B L U E S u s e s t h e w o r k o f a b l i n d 1930s blues bongo player to form a weirdo repetitive rhythm tool: another example of using a forgotten artist for one's own gain.