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In The Land of Silence is the first full length album by experimental artist Ireen Amnes. The founder of the London based collective Under My Feet. debuts on Sonic Groove with an immaterial journey contemplating suffering, liberation, the importance of affection and unity. This ambient album reveals a hidden connection between these human emotions. From anger and rejection, to love and unity, the sounds explored by the artist represent a recent journey within. Recollections of distant memories are expressed with nostalgic sounds; by contrast, darker tracks are symbolic of those moments when it is more dif ficult to accept reality for what it is. Ireen expresses in this album that there wouldn’t be any joy without suffering.

Sounds created out of emotions that cannot be spoken. Beats that pulse out of gestures that can no longer be performed. Tones that screech out of bodies that can no longer be human. Echoes of all unspoken words reverb into the wounds of time; that constant ebb and flow of existence; that relentless stomping of exchanges. The slur of life is now noise – she collects its torn pieces with her bare hands and holds them close to her pounding flesh. She now sways in and out of consciousness, transported by nothing but his will to life, his ecstatic memory, his murmured love that now forms this soundtrack to her life.

Released on the Sony Legacy label. If you sit and talk to many of the alternative rock artists dominating today's music you'll find that many of them pay homage to the The Psychedelic Furs. Artists as diverse as The Rapture, Annie Lennox and Buffalo Tom have all released cover versions of the band's singles. Led by front man and songwriter Richard Butler, the Furs won over fans and critics alike by combining poetic lyrics, innovative rhythms and melodies driven by an aggressive, punk desperation. Through it all, the band released seven studio albums to great commercial success and critical acclaim. The band are back playing sold out shows in the UK and return this summer for a series of gigs and festival appearances, notably as part of Meltdownon London's South Bank, curated by Robert Smith. By way of celebration Sony are reissuing all 7 of their studio albums on heavyweight 180gm vinyl in original, replica packaging, with download code insert. Promo & marketing activity.

NOWNEXT is a voyage from the past to the future, from now to then, from what's behind us to what's waiting for us just around the next corner. In musical terms these are the gaps that appear when you drift between genres and take risks. Strolling far from the well travelled Zeitgeist path. The second album by the Sepalot Quartet floats through this timeless space and fills those cracks with a relaxed fusion of Jazz meets Indie meets Electronica, not once denying Sepalots hip hop roots.
This freedom of expression can also be considered a sign of our times, with a generation coming of age without rivalling youth phenomena. Where a jazz show is held in a techno club with no further explaination needed.
With their first release the Quartet still relied on remakes from the established Sepalot dicography, with their current work they laid the foundation for a truly solid form of musical self discovery.
NOWNEXT is enlivened by this spirit and offers a fascinating and confindent blend of varied sounds spanning time and space.
With all this being said, NOWNEXT is truly an up to date album of international format, feeding from the rich experience of its diverse members (Sepalot, Angela Aux, Fabian Füss, Matthias Lindermayr). Memories, associations and a well carved vision are melted into a masterpiece.
NOWNEXT is the latest offering by SEPALOT and his QUARTET and needs to experienced with all senses.

Berlin club and party-starters Sameheads return to black wax on April 10th with “ZEUG!”, a 4-track EP from various celebrated artists, who join forces in new and unheard ways for a stack of outernational and spaced-out dancefloor jams for creative dance floors worldwide and beyond.

Berlin-based CROSSLUCID, AKA Sylwana Zybura and Tomas C. Toth, have delivered another stunning example of their perception-bending otherworldly viewpoint with the artwork for the release. A purely analog production, fusing clever lighting tricks, hand-made props, and a healthy dose of shaving foam and dry ice… This “Cult of the Cosmic Swamp” chimes with the weird tribal rhythms contained on the record.

First up is Mameen 3 (a side-project from Brussels selector DJ Sofa) & Romanian pioneer Rodion G.A with ‘Planet Cluj’, a suitably off-world excursion through a fun-packed disco hall in some far-off colony where layered synths are stacked, elements seeping through one another to form a mesh of groove.

Anatolian Weapons’ cosmic fireside ritual, ‘Chant 3’, heats up the A2 with vibrant and punchy percussion loops woven together with a worldwide chorus of chanters. Building continuously, the tough workout is dosed up with a bassline saturated in attitude for a high-energy finish.

Picking up on the B side are KRENG (a morphic form composed of Don’t DJ and Dane Close), who slow the pace down with a latticed beatwork combining robust dance formulas and blasting syncopation. Letting the rhythm do the legwork for the first half of the track, the pair then pour out a sludged mess of grime-infused bass over the percussive chaos.

Silvia Kastel and Wilted Woman close proceedings as SHAKEY with a dubwise workout that straddles b-side house obscurity and stoned live dub improvisation: steel drums patter at the windows of Paradise Garage as Larry Levan fights off the vampires alongside Scientist.

The release is celebrated at Sameheads on April 10th with an extremely rare live show from Rodion G. A., an appearance from INVERSIONS label owner Milo Smee, and a b2b from Don’t Dj & Dane Close. Limited to 300 pieces, this record will find a home in the stacks of DJ’s willing to step outside genre and convention.

INVŌKER just recently appeared on Innervisions' highly anticipated 'Secret Weapons' compilation - now he is back with this four-track EP on Frankey & Sandrino's 'Sum Over Histories Imprint'.

Phil is welcoming us with a repress of three collectors item tracks by Klovn - the studio partners of Trentemoller & one half of the most successful Danish electronic live act 'Lulu Rouge'.

'Cover Up' is a tough club track which drifts to a subtle, 'less is more' principle, where PF blends the organic sounds into the dreamy electronics but yet qualifies as a very functional opening anthem.

Melvins Beats rounds the release off with it's cinematic & shoe-gaze approach. Yet another, meticulously composed repress from this label with an idealist character, a must have.

Drumcode starts 2020 with a sterling EP from genre hero Thomas Schumacher, his first on the label after a long association with Adam Beyer. No ifs or buts, if you’re a techno fan, Thomas Schumacher holds a place in your heart. His 1997 classic ‘When I Rock’ still gets rinsed, he has a vast body of stellar work on his influential former label Spielzeug Schallplatten, including a release from Adam Beyer, and he continues to deliver pin-sharp productions via his Electric Ballroom imprint, including a scorching remix of ‘The House of House’, the 1994 classic from Cherry Moon Trax. The rework was first played by Beyer at Time Warp and has been a 2019 highlight.

He first contributed to Drumcode in 2018 with ‘The Unseen’, a stirring contribution to ‘A-Sides Vol.7’, setting up a maiden EP with ‘Crimson’. Crimson’ is crafted around two minutes of tension-building synths, before a beat finally appears and a rasping deep bassline commands the dancefloor. ‘Feist’ is a no-nonsense brain melter, as 303 arpeggios bloom and recede, creating a thrilling rhythmic intensity throughout lastly ‘Anker’ brings the rave with eagle-eye focus, unleashing a wall of fierce acid to round out off the release.

“Adam and I have both been producing and playing techno since the early 90's. I have deep respect for him as a person and artist. It’s an honour to have the opportunity to collaborate in this way.” – Thomas Schumacher

Intriguing times out there! Much confusion, much uncertainty
and a little bit too much of everything. Even music. And
recording mediums. Greta probably wouldn't approve of
cramming your little apartment with thousands of vinyl discs
that will go to waste at some point. And honestly, does the
world even need another record label? The answer is no.
Except this brand new imprint right here is aiming to put things
a bit into perspective. Bisiesto, meaning leapyear in Spanish
will only issue its releases on every 29th of February. You
know what that means - one release every four years. Less
pollution, less redundancy, essential material that had its time
to ripe, plus it's a fun idea, too. Bisiesto is run and curated by
Carlo and will emphasize on the physical release on vinyl in
limited editions of 366 pieces, hand numbered by the man
himself. Bisiesto #1 is due with four jams by the label honcho
that showcase his variety in an unprecedented manner. The
laid back electro- and e-funk-induced groove of "Momo" opens
that spectrum, maintaining Carlo's unmistakable feeling for
soothing harmonies. "Casiopeia" brings in a bit more of his
signature sound, building up a straightforward feelgood
housetune on thick kickdrums, slapping hihats and energizing
vocal cutouts. You can sum this bad boy up under: Carlo on
top of his game. The following "Tengo" has been released
previously, but appears here in a completely new mix, letting
this bouncy, yet deephouse-tinged piece shine in a slightly
different colour. Closing off is "Domingo" a rather percussive
affair, bringing in some tribal grains, a funked up bassline and
an irresistible breezy disco feel.

The Liverpool-based DJ and producer ASOK returns to DVS1's Mistress Recordings with his most diversified EP yet: "Mistress 14" unfolds ASOK's raw, analog-heavy sound aesthetic full of broken kick drum patterns, stepping basslines, and lush synths.



With 25 years of record collecting, DJing, and promoting parties around the UK, there is little of the dance music spectrum that Stu Robinson has not been involved with. The Liverpool-based artist has amassed a fine understanding of a wide array of scenes, styles and sounds from drum & bass to electro-funk, disco to house and techno – underpinned by a love of breakbeat. The music under his alias ASOK is an amalgamation of this diversity that has found favor with labels like M>O>S, Lobster Theremin, Crème Organization, and Mistress Recordings.



"Mistress 14" opens with "Space Rockets" which is a nod to his breakier love affairs without using actual breakbeats. While second track "Is Anyone" displays his take on classic Chicago House with a little Roland JD-800 euphoria thrown in. On the flip, "Last Refuge" explores driving, rhythmical techno with ASOK's typical ravey pad-like break in the middle until "The Alchemist" closes the 12-inch by laying more focus on melody and texture with a growing, always changing bassline and an ethereal synth that carries the track's energy. The digital bonus track "Apano Sin" concludes the package with a scruffy somewhere in between everything vibe.



ASOK about Mistress 14:



"Mistress 14 is probably the most important EP I have ever made in terms of showing all the different things I am into. I’m difficult to pin down because I’m not really a techno DJ, or a house DJ, or anything like that. I like all forms of electronic dance music. As a DJ, I mix up old and new, familiar with unfamiliar, playing everything from Italo disco to really dark high-bpm breakbeat. As a producer, it’s not easy to put an EP together that covers a little of everything, yet still sounds cohesive. Especially considering that all my tracks were recorded in long live takes, then edited down with no ability to change parts. Sometimes that requires some pretty heavy editing, but that’s one of the good things you get when making music this way. I’m in control of the creative process, rather than feeling like some kind of colored block administrator drawing blocks out on arrangement view of my computer."

The tag team are back with another club-ready release bringing together their combined experience and production prowess. Dan Ghenacia and Chris Carrier are long-time friends who’ve been working together in the studio over the last few years, resulting in a series of EPs on labels like Apollonia, Adult Only and, of course, Music For Freaks, for whom this is their second release. On the A-side ‘Vocalized’ comes at us full throttle with a powerful bassline and crisp, punchy beats. The vibe is unrelenting with a neat call and response vocal clip and a simple, catchy melody in the top line, keeping it hypnotic. Funky, groovy and full of potent energy from start to end. On the flip ‘Burning’ has a similar aesthetic, with taut drums and bass, plus a range of unusual sounds to add depth and character. Indecipherable vocal clips pop up occasionally, and the pace picks up as the track hits the midpoint. A repeated siren-esque effect locks you into the groove, keeping you hopelessly hooked until the end...

RX-101 has quietly been making waves in the IDM/electronic music underground for the past few years, through a series of archival releases — material recorded in the late-90s, but previously unreleased until Suction Records began compiling and releasing these records in 2016. What’s truly mind-boggling about RX-101’s output is the sheer quantity of stunning, top-drawer material that Dutch producer Erik Jong recorded over the period of just 3 years, 1997-1999. Many have suggested that the whole thing is a publicity stunt — some insisting that this is all new material masquerading as vintage, while others have proposed that the material may in fact be a secret alias for Aphex Twin to release gems from his own legendary ’90s audio archive. RX-101 has absolutely nailed the sound, and quality, of early-90s AFX/Rephlex, that much is true. “Serenity,” this latest full-length RX-101 release, is no exception.

Just as RX-101’s last album, 2019’s Dopamine, concentrated on one hallmark of Aphex Twin’s sound — the smooth melodic techno of his Selected Ambient Works 1985-1992 LP — so too does Serenity reference another classic early-Aphex era, but this time it’s a completely different beast. Don't let the title fool you - Suction Records' latest dive into RX-101's 1997-1999 tape archives is not all lush, serene melodies. On Serenity, scorched, crunchy jackhammer beats combine with emotional, plaintive pads, delivering a classic set of vintage-Rephlex-style bliss, à la AFX, Caustic Window, and Cylob. It was Cylob who coined the term Industrial Folk Songs for his classic 1995 LP, and that release is clearly a blueprint for RX-101’s latest collection.

Standout cut Hearts Utd., featuring a stunning music video by Aidan Fantinatto and I Dream Of Wires’ director Robert Fantinatto, not only nails the magic of AFX’s trademark, irresistible jackhammer-beats-meets-plaintive-melody device, it arguably rivals the master at his own sound. As a whole, what could be a harsh and monotonous collection is lifted by RX-101’s subtle diversity and skill, particularly in his ability to create eerie, evocative moods, with gorgeous melodies that speak volumes of emotion.

F*CLR Records are delighted to release Dublin based producer and remixer Glenn Davis’s outstanding new EP, Namida (Tears of Happiness), the eagerly anticipated follow up to his hugely acclaimed Body & Soul’ 12”.

With remixes from Ashley Beedle & Darren Morris’s Afrikanz on Marz production unit, it has already been given the legendary François Kevorkian seal of approval with massive support on his Worldwide FM show. Mr Davis has been busy in the studio this year creating complete dancefloor and radio fire - house music to lift you up and save your soul.
The original mix of Namida (Tears of Happiness) would sit comfortably next to anything on the Nu Groove label roster, the Burrell Brothers would be saluting Glenn for his beautiful attention to detail.

Ashley Beedle x Darren Morris take their Afrikanz on Marz remixes onto a cosmic disco level and with a bass line that takes no prisoners, deliver a sparkling remix + dub. With the addition of the properly late night sleazy bizniss UGetting Down, it’s party time for deep headz. Enjoy!!

“Cryptic, twilight emissions from Villalobos and Loderbauer; their synthetic compound of electronics and ouroboros jazz has walked from ECM and Perlon over to Mana.
Developing a sound that tends to drift along as otherworldly atmospheres and strange fusion, Vilod evade easy categorisation, even compared to Villalobos’ already experimental and genre-twisting solo minimal offerings. He and Loderbauer pull away the backbone inherent to the structure of that dance music, and The Clouds Know refines a deft and subtle musical noir built on ambient cues, sparks and claps of electricity, brushed drums, black voids and subterranean bass swoops. There's a twinkle in the eye and moments of deadpan levity, but the overall mood here is sober and introspective. Emotions run deep.

Through studio mastery and an enigmatic language the album forms a fascinating sonic and sensory work with few compromises. With erratic rhythms notably submerged—techno remains as an irregular pulse in the belly of the beast—fields of crisp, uncanny detail expand greatly. Humid environments appear, dense with the chatter of synthesised insects and the gentle rain of drums and whispering cymbals, enchanting the listener in focus or sublimating into layers of ambience depending on your disposition - and the quality of your stereo field.”

A little mystery goes a long way, but it's fair to say the appetite for unearthing those secret tunes and lost classics has rarely been stronger...

A LOVE THAT NEVER DIES give us a peek inside their formidable archive with four wonderful pieces of coveted music, in very short supply in their original form

One super limited, clear vinyl pressing.

German-Syrian band Shkoon will release their long-awaited debut album “Rima”, sending out a message of cultural diversity to the world. Shkoon’s concerts have attracted a diverse audience for many years, bringing together people of all religions, colors and backgrounds. For their album-tour through Germany and Switzerland, stops in Berlin, Hamburg, Cologne, Munich and Zurich are planned.

Musically, the album is situated between influences of electronic downbeat, deep house, dub and hip-hop. The band members come from a variety of different musical backgrounds and have created their very own sound with a mix of influences between the Arabic and Western world. Piano, violin, synthesizers, percussion and vocals merge oriental melodies with western electronic beats, taking the listener on a journey that blurs the boundaries of cultures.

Shkoon is more than a German-Syrian live act with Arabic lyrics. In addition to their own lyrics, the band uses traditional musical folklore elements of the Arab community, which today appear more relevant than ever. The title song of the debut album is inspired by a story from Arabic folklore, in which a mother tells peaceful tales to her child as the world sinks into chaos. This song is accompanied by the singer and rapper Tareq Abu Kwaik, also known as "El Far3i", by the band
47Soul.

After the war in their home country drove the two Syrians to relocate to Germany, Ameen, Thorben and Maher met in the hanseatic city of Hamburg in 2015. During a spontaneous jam session, an unexpected energy and thus the project Shkoon emerged, which was soon followed by the release of the band’s very first EP a few months later.

During the first performances of Shkoon, a spark quickly jumped over to the audience, which soon allowed the group to play major festival stages all over Europe. Even as Shkoon’s musical expression knows no boundaries, it is not easy for the band to travel other countries, as Ameen (the vocalist) and Maher (the violinist) consistently face difficulties of getting visa documents due to their refugee status.

This is particularly lamented in Arab countries, where the band has long been celebrated as stars, for example when they played a sold-out show in Beirut for an audience of more than 3,000 people. But also in Europe, especially in Germany, there is immense enthusiasm in their fans-base is huge.

Vermisst is a new collaborative project from Sam KDC, Torn and Korse. Working together to expand on the Grey Area sound, the Zerfall (disintegration) EP takes a more aggressive approach than past releases from Grey Area developers ASC and Sam KDC.

From the lightning rod rave stabs of Zukunft and the rolling breakbeat textures of Zuruf, Vermisst work their polyrhythms into powerful propulsion. Zerfall and Zahnrad take a deeper approach with sheets of distortion splashed over the lurching rhythms.

More to come from Vermisst in 2020.

Celebrating a Decade of Dark Entries with a compilation titled ‘Tens Across The Board’. We revisit our roster and chose 10 songs from 10 bands from 10 different countries spanning the years 1981-1993. The songs flow in chronological order and have never appeared on vinyl, with 7 of the songs previously unreleased.

The compilation begins in 1981 with Parade Ground from Belgium, the duo of brothers Pierre and Jean-Marc Pauly with help from Patrick Codenys and Jean-Luc of Front 242. “The Light’s Gone” was one of their earliest experiments and employs a stark minimalism with modular synthesizers, guitar reverb and tape delay. Next we venture to Granada, Spain in 1982 to meet the trio of Diseño Corbusier. Influenced by Cabaret Voltaire and Dadaism, “La Esperanza está en Antenas” was the band’s take on melancholic pop fueled by a robotic DR-55 bass-line. Sailing the Mediterranean Sea to Athens to meet Greek electronic goddess Lena Platonos who shares a demo from 1983. “Μια Γάτα Σασ Περιμένει Στη Γωνία” translates to “A Cat Is Waiting On The Corner” and is possibly the witchiest sounds we’ve shared yet, ending with a blood curdling scream. Frozen in 1983 we cross Ionian Sea to Messina, Italy and visit Victrola, the duo of Antonino “Eze” Cuscinà and Carlo Smeriglio. They’ve unearthed a melodic instrumental version of “Luca” fueled by a Korg Polysix and TB-303. Traveling across the Adriatic to Slovenia circa 1984, where Borghesia are working on their album ‘Ljubav Je Hladnija Od Smrti’. “Magla” translates to “Fog” fitting for the thick, somber electronics of Aldo Ivancic providing a dense atmosphere for the baritone vocals of Dario Seraval.

On Side B we go down under to Sydney and excavate a hidden Tom Ellard song recorded in 1984 under the alias Lord Metal, an anagram of his name for copyright reasons. “Ga Duum Blitzfonika” is a slow-motion, unadulterated dance groove originally released on the cassette compilation "Independent World”. Skipping ahead to 1986 in Tours, France we salute X-Ray Pop the minimum new wave duo of Didier "Doc" Pilot and Zouka Dzaza. They contribute the hypnotically fragile “Corto Maltese” that originally appeared on the cassette compilation ‘Plop’. Crossing the German boarder we arrive in Dortmund at the apartment of Andreas Sippel of Second Decay who recorded the instrumental demo “Lübeckerstrasse” in 1988 with partner Christian Purwien. Utilizing an TR-808, SH-101 and Arp Odyssey this cold slice of futurism was named after the street Andreas lived on. Traveling westward to England, specifically Basildon, Essex to the teenage bedroom of From Nursery To Misery, the trio of identical twin sister vocalists Gina and Tina Fear and keyboard player Lee Stevens. “Contentment” is an introspective, ethereal pop song with child-like vocals that originally appeared on the Belgian tape compilation ‘Heartbeat Vol.4’ in 1989. Finally, we return home to San Francisco and close out the compilation with Cyrnai the moniker of multi-instrumentalist Carolyn Fok. “Digital Grit Box (Demo)” was an outtake from the ‘Transfiguration’ album sessions recorded in 1993, utilizing dark dance drum beats made with MIDI sequencer programs Studio Vision and Sample Cell.

All songs have been remastered by George Horn at Fantasy Studios. The vinyl is housed in a custom designed jacket by Eloise Leigh featuring our label’s colors black-white-red with connect-the-dots pattern linking the 10 songs via maps/timeline/location, all relating to the reissue process, plus source images from San Francisco, our hometown. For this landmark release we've also printed a 2-sided fold-out wall poster that includes every artist we've released in our first 10 years 2009-2019 in black, red and silver metallic ink, plus an 8x11 insert with lyrics, notes and photos.

TAU welcomes an enigmatic, esoteric entity to the fold with this stunning release from the one and only Rico Puestel. Rico’s artisan musings and wild outlook on life has resulted in the production of a stunning back catalogue, full of unique, emotionally-charged electronica. His music has found favour with industry heavyweight Sven Väth and his Cocoon imprint, so it’s a pleasure to have three new classy cuts from this in-demand producer.

The Chicanery EP begins with ‘Plentone’, a chugging atmospheric cut with a deep pulsating low end. Bright angelic twinkles impose a contrasting layer of emotion against the dour bassline. The mood is solemn, yet optimistic, punctuated by a scintillating breakdown. After the drop, ‘Plentone’ keeps pumping along as the expertly-crafted elements combine to create a mesmerising composition.

Next up is the title track, ‘Chicanery’. This one is a little more upbeat and strident, emitting a contagious charge of energy. A symphony of sparkling melodies dance above a groovy bassline. Rico demonstrates his virtuosity with this wonderfully whimsical cut. His playful use of layered melody gives the track depth, utilising his skills to really tantalise the listener.

Track three is ‘Whether’, a bluesy, eyes-down cut with a brooding exterior. A range of organic sounding instrumentation gives this track a very natural tone and appeal. Rico carefully increases the tension, teasing the energy levels up and up and up like a form of audio foreplay, leading us into an orgasmic breakdown. After that track continues its sultry jaunt, hypnotising you with its sensual allure.
Lastly, Theus Mago delivers a simmering remix of ‘Whether’. The Mexican maestro creates a whole new piece of music, with a driving rhythm, an urgent riff and a constant flow of new sounds. Theus’s reinterpretation is dramatic, compelling and deadly. Watch the dance floors explode to this one.

The prescient sound of an abstract never-coming future built from the everlasting commitment to the boundless experimentation. The prolific one-of-a-kind Terrence Dixon is back to 30D Records.

“Vertical Hold EP”, holds on his unlimited creative scheme: on the basis of the Detroit sound, he transforms that legacy in a fully refurbished approach wherein the true creativity smashes any possible stereotype.

Every track leads us to the unexpected. From the skillful Dixon’s mind, any sonic universe is possible. The straight low pad of “Due Process” flows on a kaleidoscopic background, energized by a danceable bass drum. Second cut, “Vertical Hold”, is a wicked amazing sequential madness from a dreamlike dance floor. “Transition Area” seeks and finds out the depth, a mental mantra to disappear in. The rhythmic and mechanical arpeggiator of “Total Vehicle” drive us to a dancing frenetic hypnosis. And, finally, “Assembly Building”, unfolds a fine-draw and imaginative minimalistic groove.

Five tracks that you cannot miss out. An essential state-of-art Techno work you must have

Comet presents the first release from its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco reedits by LeonxLeon and Leo Nanjo.

Founder of Comet Records, Eric Trosset, started working with those great heroes of West African music, back in 2010. Taking on the role of manager/publisher, Comet teamed up with Strut Records
and musician/producer Ben Abarbanel Wolff to revive Ebo Taylor‘s international career with a string of album releases: Love & Death, Appia Kwa Bridge and Life Stories. In 2014, he collaborated with
Pat Thomas & The Kwashibu Area Band on a new album, gathering together the old ‘pals’ (Ebo Taylor, Pat Thomas, Tony Allen) in producer Kwame Yeboah’s studio in Accra.

It is with great pleasure that Comet launches this new series. Let's make this beautiful and timeless music the soundtrack to an unforgettable summer!

On side A, comes “Enye Woa” by Pat Thomas, originally released in 1988 on Nakase Records and taken from the album Me Do Wiase. It’s killer disco cut, and as innovative a piece of highlife as it
was 30 years ago. Paris-based producer LeonxLeon has been cooking up songs in his Parisian home-studio since 2013. He did a remarkable remix of Cerrone's "Funk Makossa" and more recently released his new Rokanbo EP on Cracki Records. His remix of “Enye Woa” is a classy modern disco cut with funky bass and spacey synths.

On side B is “Atwer Abroba” by Ebo Taylor, a stand out up-tempo track from the album Twer Nyame, originally released in 1978 on Philips West African Records. Tokyo-based multi
instrumentalist/producer/arranger Leo Nanjo formed the first Japanese afrobeat group, Kingdom
Afrorocks. Since the band broke up in 2014, Leo has been producing and arranging music with various collaborations, such as DJ Muro, Pushim and Misia. This is a trippy afro-futurist, broken
beat reedit with highlife grooves flying to deep space

Copenhagen’s Echocord welcomes YWF onto its roster this June with the ‘Replaced’ EP, backed with remixes from Berlin’s Freund Der Familie. YWF is a Copenhagen based Techno producer and DJ, most notably known for his output on the Freund Der Familie imprint, the founders of which step in to remix his work here, and Baum Records, the label run by Resoe, a good friend of Echocord label boss Kenneth Christiansen and with whom he forms the group Pattern Repeat. It seems it was only a matter of time before YWF became a part of the family. Title-cut ‘Replaced’ opens the package via a sturdy rhythmic foundation, wandering synth licks and winding modulations before ‘All Is Temporary’ embraces a cinematic aesthetic, edging in elongated sub drones, emotive strings and delayed percussive hits. Freund Der Familie take control on the latter half of the package, delivering two interpreations of ‘Cutoff’, first up is ‘Fdf’s Reshape’, employing an airy asmtopheric feel amongst fluttering low-end and dustry drums while the ‘Days Of Doom Remix’, as the name would suggest takes a darker approach, laying focus on menacing bass, expansive delays and menacing voices alongside heartbeat like pulses of low-end drums.

We bring Patrik Carrera to our team, starting our relationship with this "Inevitable Decay EP". The Australian born, Berlin based producer, offers four slices of modern techno, balancing aggression with hypnosis along four cuts.

"Standing Fog" uses a mega distorted kick and resonant hypnotic bleeps on top, reminding the old X 102 feeling. No remorse in this track, straight to the point madness.

"Altered Form" relies on a complex groove, with asymmetrical components and is heavily texturized, the main synth line goes on forever while different elements go back and forth. The rhythm grows in intensity on the final moments, adding distortion and dirtiness.

"Liquid Toil" goes hyperspace, abstract sinusoidal sequences float over an opaque groove that is soon filled with shuffled 909 hats and sci-fi textures. Jeff Mills will love this one.

"Influx" puts the eye in old Birmingham tools, with a reverberated repetitive sequence over a shuffled beat, things move just a bit, keeping the pace linear and obsessive making a superb mixing tool.

A diverse EP with a personal approach to intelligent dance territories, music that could be from 10 years after today, from the future.

Veerus makes his Drumcode debut, after an impressive contribution to Truesoul's VA EP in 2017.

The Italian has built up an impressive discography over the last decade, dropping records on labels including Terminal M, Octopus, Filth on Acid and his own Le Club imprint. His collaborative with Maxie Devine 'My Train' was a highlight of Solomun's classic Boiler Room in Tulum, which has clocked 37 million views. In late 2017 he linked up with Brits OC & Verde for the fantastic 'Naaki' that featured on Truesoul's first Various Artists EP, ensuring he was an artist well and truly in Adam Beyer's sights.

His maiden outing for Drumcode mines 20 years of history, taking inspiration from classic trance and acid from the '90s, which he distils to create powerful modern techno works. 'Hypnosis' was a huge highlight of Beyer's Awakenings show at Gashouder during ADE. It's characterised by an engrossing call-and-response dynamic Veerus builds between the 303 acid warbles and the melodic stabs that run throughout. A track custom made for big moments. 'Apocalypse', like its name, is more menacing. Veerus constructs the work to mimic the dramatic theatre of a gladiatorial scene in a film, as heart-fluttering chord progressions, a piercing synth line and dystopian melody mark this memorable track.

To Celebrate The 6th Anniversary Of The Agency, Rotate Prepared A Hefty 4xlp Compilation Featuring Its Key Artists. 'rotations Ii' Is The Seven-chapter Follow-up To rotations I' Out In 2016 And Features Tracks From Most Of The Current Music Crafters In The Rotate Family: A Collection Of Personal Musical Excursions And Peculiar Studies Of Rhythm And Sound, From Artists Full Of Wit, And Grit. 'phase Five' (a1) Is Yuzo Iwata's Debut On Rotate And, Without Surprise, Is A Showcase Of Sonic Wizardry That Sets The Tone To The Entire Compilation With Its Dreamy (and Almost Delirious) Atmosphere And Marching Organic Groove. 'aphasia' (a2) Has Anestie Gomez Shifting The Gears To A More Minimalistic Sonic Palette Of Razor-sharp Drum Programming, Sophisticated Swing, And Deep Acidic Low-ends. The Flipside 'hypnosis' (b1) Is Leiris's Debut Solo On Rotate And A True Study On Reduced Raw Grooves And Abstract Sound-design, Wrapped In Amidst Of Hypnotic Mystery. 'partenaire Particulier' (b2) Brings Back Leiris Together With Ben Vedren As "monkey Nenufar": A Spellbinding, Steady-beat Ride Full Of Joyful Chords And Filtered Echoes For Certified Euphoria. Levi Verspeek Kicks The Flip-side With 'paying 420' (c1), A Focused 4 By 4 Excursion Focused On Groove And On-point Sampling Of Minuscule Percussive Loops Teeming Around A Central Pulsating Bassline. Funky, Vibrant And Full Of Emotion, Pit Spector's 'back From Cdv' (c2) Is A Love Letter To The Esteemed Club Der Visionaere, And An Ode To The Micro-house Aficionados, Especially Those With A Soft Spot For Latin Rhythms. Denis Kaznacheev's 'poromechanics' (d) Is A 15-minute Sonic Delirium Through Startling Soundscapes, Sweltering Rhythms And Barely-sane Micro-sampling, Ultimately Setting A Hypnotic, Enigmatic Tone To The Closing Of This Compilation. "rotations Ii" Is A Versatile Comeback To This V.a. Series Where Rotate Artists Can Be Themselves, Loyal To Their Own Sound And Their Very Distinct Personalities.

London's Release/Sustain imprint returns this April with a four-track package featuring material from Eduardo De La Calle, XDB, Joey Anderson Moody Waters feat. Carolina Damas.
The Release/Sustain imprint has gone from strength to strength over the years, welcoming the likes of Alton Miller, DJ Aakmael, Benjamin Brunn, Losoul, Norm Talley and many more respected names in underground house and techno over its past twenty nine releases.
Here we see this continue with some more welcome additions, first up is Eduardo De La Calle with 'The Protosoul' and as always the Spanish artist offers up a perfectly crafter slice of hazy, groove-driven Techno, led by bleepy arps, winding stabs and robust analogue rhythms. XDB then offers up heady, subtly blooming leads, pulsing subs and shuffled drums with 'Another Night' next.
Opening the flip is New York's Joey Anderson with 'Drum Play' which as the name suggest sees the percussive aspects dynamically evolve throughout amongst choppy bass hits, stutter arpeggio blips and warm string melodies. Moody Waters then teams up with Carolina Damas, vocalist on anthemic house cut 'Sueno Latino' for 'Acid Lovin'', edging into deeper territory with ethereal pads, crunchy drums and squelching 303 licks while Damas' soft, spoken-word Latin vocals wander within.

Supply Records marks the end of a two-year hiatus With a strong techno EP from the label's own Mechaniker. Pike builds the energy slowly with tight 909 programming and gritty synth work. Tongue puts a twist on big-room techno with its tripping layered vocals and apocalyptic atmosphere..

From playing chaotic house parties in their home city of Oxford to becoming major festival headliners across Europe, Foals' trajectory has been remarkable. They've earned critical acclaim (NME and Q Award wins, plus Mercury Prize, Ivor Novello and BRIT Award nominations) and fan devotion (1.7 million sales of their four Gold-certified albums) in equal measure. And while the majority of contemporaries have fallen by the wayside, Foals continue to hit new peaks.

After more than a decade in the game, Foals again embrace that love for the unconventional with the bravest and most ambitious project of their career: not one, but two astonishing new albums: 'Everything Not Saved Will Be Lost'. A pair of releases, separate but related, they share a title, themes and artwork. 'Part 1' will be released on March 8th, with 'Part 2' following later in the year.

'They're two halves of the same locket,' frontman Yannis Philippakis explains. 'They can be listened to and appreciated individually, but fundamentally, they are companion pieces.

Fundamentally tethered but possessing their own personalities, the two bodies capture the most compelling, ambitious and cohesive creations they've ever produced. Eager to break the traditional pop song structure which they felt they were becoming increasingly tapered to, the 20 tracks defy expectation. There are exploratory, progressive-tinged tracks alongside atmospheric segues which make the music an experience rather than a mere collection of songs. Yet the band's renowned ability to wield relentless grooves with striking power and skyscraper hooks also reaches new heights.

The album's lead single 'Exits' is a case in point, featuring Philippakis conjuring the image of a disorienting world via a contagious vocal melody. It's a fresh anthem for Foals' formidable arsenal, but also an ominous forecast.

'There's a definite idea about the world being no longer habitable in the way that it was,' says Yannis. 'A kind of perilousness lack of predictability and a feeling of being overwhelmed by the magnitudes of the problems we face. What's the response And what's the purpose of any response that one individual can have'

'Exits' signposts what to expect thematically from both instalments of 'Everything Not Saved Will Be Lost'. The title is a warning that anything - from the tiniest fleeting moment of inspiration through to the planet's own biological diversity - can be under threat of being irrevocably erased.

It's a theme that permeates throughout the album's material, as Foal mirror the public neuroses that have been provoked by our current cultural climate. Paranoia of state surveillance Fear of environmental collapse Anxiety over Trump's next potentially cataclysmic move It's all there in these apocalyptic songs.

'Lyrically, there are resonances with what's going on in the world at the moment,' summarises Yannis. 'I just feel like, what's the utility of being a musician these days, if you can't engage with at least some of this stuff These songs are white flags, or they're SOSs, or they're cries for help... each in a different way.'

The new albums' journeys began as the 'What Went Down' era ended. Founding bassist Walter Gervers departed on amicable terms after playing the Festival Paredes de Coura in Portugal in August 2017. Foals felt that he couldn't be replaced - a decision that ushered in a period of recalibration, reorganisation and, ultimately, rejuvenation.

After taking a little time out, Foals - completed by Jimmy Smith (guitar), Jack Bevan (drums) and Edwin Congreave (keys) reconvened - with Yannis on production duties, who, together with Edwin, also covered the bass parts. They began by writing in a rehearsal space before exporting those sketches into the recording phase at 123 Studios, Peckham, with the assistance of engineer Brett Shaw. They'd repeat the cycle between the two spaces, effectively creating an ongoing feedback loop as they sought to push every new idea to the finish line.

1 x 12" black vinyl 180gsm
- label 4/c
- discobag on reverse board with matt varnish
- gatefold on reverse board with matt varnish
- shrinkwrap

Kastil and I-Real have been releasing joint efforts since 2014. The occasional duo have perfected the boisterous techno they hold dear, and showcase their new approach on the gloomy 'Black Birds All Over' and the audacious sounding 'Skandha'.

'Black Birds All Over' is a lurid sounding effort that revolves around a monotonous roar and skillfully places drums and fx sounds that cut across the spectrum like daggers. Canadian duo Orphx delivers an enigmatic version of 'Black Birds All Over' that uses far-away pads to generate a more uncanny mood.

'Skandha' is a piece of nonconformist techno that uses broken drum patterns and eerie fx screams throughout. Order & Devotion owner Kwartz reworks 'Skandha' to a recognizable and powerful dark dancefloor version.

Nocta Numerica is pleased to announce the arrival of Luxus Varta (Brokntoys, Shipwrec, Solar One..) on the label ! "Plastic Time" is a 5-track EP that fuses Electro and melancholic sonorities. The 13th release of NN will be pressed at 300 copies and released late February 2019. It includes a special appearance by Paris The Black FU (Detroit Grand Pubahs) on the track "Stilnox".

The mysterious Kayroy appears on his second Whiskey Disco record bringing the heat by way of sampladelic dancefloor collages packed with funk and a slight left-of-center aesthetic. 'Like Damn!' and the titular, 'Pavlova Casanova', are both hands-up, disco gaiety that will rip the heart of your chest.

'Sandy Shackles' closes out the EP conjuring the disco dub vibes of editors like Idjut Boys or Ray Mang. Just who is Kayroy - and who was he on his first Whiskey Disco appearance

finally repressed !

The Vivus family ends 2018 in style with its fifth instalment in the vinyl-only series VRV. This release brings back some familiar faces in label founder Daniel Broesecke and an old friend in Silat Beksi.

These two close friends who share their passion for music are fresh off their release on Curtea Veche back in September but they bring some raw energy on this one, resulting in timeless and hypnotic music from two creative young artists.

The first track, Mistral, starts off as strong as you would expect from its name, deriving from the cold northwesterly wind that blows from the south of France to the northern Mediterranean. The heavy bassline floats just above the surface as a cool breeze of atmospheric sounds make their way across.

Next up, on the B side, we have Get Some More, with a calmer approach but powerful nonetheless. An unexpected vocal greets us at the beginning only to make way for a steady flow of uninterrupted intertwined noises that go hand in hand with the firm bass line just underneath.

New Order are proud to announce the release of TOTAL from Joy Division to New Order on vinyl. Originally released in June 2011 on CD, TOTAL from Joy Division to New Order will be available on vinyl for the very first time on 30th November 2018.

Featuring single versions of tracks from both Joy Division and New Order mastered for vinyl by Frank Arkwright from his 2011 remasters. The iconic album cover was created by Howard Wakefield with art direction from Peter Saville.

TOTAL contains New Order's UK Top 10 singles Blue Monday, True Faith, Regret and the Number 1 single World in Motion along with classic Joy Division tracks Love Will Tell Us Apart, Transmission, She's Lost Control and Atmosphere.

New Order head out on tour in November. Playing their only UK show of 2018 at London's Alexandra Palace before dates in Mexico, Chile, Argentina and Brazil.

KUf debuts in our platform and we are more than glad to share his incredible skills in this Ep / Mini Album, four cuts on wax and seven on zeroes and ones.

Rock exactly honours the name, rocking the place with fast BMP, carefully distorted sequences and sharp rhythms in a relentless arrangement.

Feedback Rhythm runs fast as well, with a cleaner approach in the drums, alien and tribal at the same time. The synth lines are dynamic and dirty, appearing randomly until take over the main part, cyber funk at its best.

Spand metalizes the feel, with hard industrial reverberated hit over a continuous sequence, no mercy in this one. Hard Hitting beats

Kvallsloop, turns the balance with subterranean beats, alien sinoidal arpeggios and subtle hats, a perfect epilogue for the physical version.

On the digital offer, three more tracks, Famlar i mo rkret comes first, slowing down the pulse, deepening the approach and going classy and attemporal. A modern vision in Detroit's traditional sound.

No skool brings the bleep to the floor, spiced with old school 909/808 beats.

Parafras closes this extended work, in one of the most original percussive exercises released to date, an absolute floor destroyer for those who know.

Shot At Dawn is a scintillating return for a band who have been collectively quiet (but individually busy) for a few years, and (once again) sounds like the music of tomorrow. Lyricist Leon Mayes wills the real revolution to come, Morris's uneasy keys and driving, bittersweet production embodies the UK's collective anxiety/apathy coupled with an impending sense of doom, as we all obediently troop off the cliff like lemmings, while vocalist Michelle Manetti's melancholy delivery is the perfect foil both, recalling Tracey Thorn at her best.

It's a genuine wake-up call for the dance floor that's dropping well with club DJs but clearly has the potential to shine fully on radio. A2 track Warm Your Love is an equally forward-facing slice of sci-fi dance music sonically and already turbo-charging the dance floor with its futuristic feel.

The remixes come from Edinburgh/London duo Leonidas & Hobbes and are the first productions they've released since 2017's summer anthem and Release Of The Year, Web Of Intrigue (from their Rags of Time EP), as voted by some 400+ DJs on Bill Brewster's DJ History podcast back in January. Their Electro mixes doff a cap to Vince Clarke (Depeche Mode, Yazoo) and Daft Punk/Thomas Bangalter, with some Compass Point era Grace Jones/Sly & Robbie thrown in for good measure on the electro dub, while the Deep House variations are more Pepe Braddock's Deep Burnt meets Frankie Knuckles/Jamie Principle's Your Love and Orbital...

Enzo Siragusa rounds off another incredible summer with a highly anticipated project, a collaborative FUSE EP with Martin Buttrich. Striking a perfect balance between Enzo's UK rave roots and Martin's matured finesse, the 'Three Squared' EP nestles neatly within FUSE's distinct sonic palette.

Part of the FUSE family from the very beginning and held in high regard by Enzo, the two solidified their watertight bond via the line ups and studio sessions they have enjoyed together over the years, a bond that shines throughout this release.

When Enzo produces music for his label he always has the FUSE dancefloor in mind, aiming to create those immersive experiences for the crowd that he had as a youngster, across many London raves in the mid 90's.

The 'Three Squared' EP deftly encapsulates this approach, from 'Dangerman', a track that melds Jungle's original elements with the sound of today's house scene, via 'Lifted Spirits' adorned with touches of old school Martin Buttrich, to the darker and engulfing 'Apache', a vinyl only exclusive for the wax heads.

This release also marks FUSE's largest London collaboration to date, as they take over Tobacco Dock's Car Park, where these tracks will be doing some serious damage. At this point the two collaborators will meet again, as Enzo invites Martin to play a live set.

In December 2015 VICTOR RUIZ and I released our first collaboration - APOLLO EP. It was the beginning of a wondrous, passionate and inspiring journey. A journey of growth, friendship and artistic exchange. Victor and I are proud to present you APOLLO II - a testament to our love and dedication to TECHNO MUSIC.

Clikno Is Proud To Present The Second Strike Of Dr.nojoke's Double Ep 'zero'.

'aplose' Is A Straight 10 Minute-stomper, Which Sounds Like A Wild Horde Of Percussionists Clanging And Banging Cans And Pots. The Truth Is The Doctor Just Threw Glass Marbles On A Wooden Floor. Fun-time! For The Hips He Adds A Low Rolling Bassline And For The Head Some Freaky, Randomly Pitching Chords And Off It Goes! Call It Afro-kraut-jazz-tech Or Just Clikno - Aplose Is A Counter-action To Electronic Music Production With Electronic Machines - Marbles Do It As Well!

'kumuestu' On The Flipside Is The Antagonal Piece On Zero.two - More Dark And Deep It Is Music For A Fictional Ritual. Carried By A Hypnotic Fluctuating Bass-figure And Drones The Tune Slowly Mutates Into A Shamanic Rhythm Monster Creating A Resonating Field For Transcendental Dancefloor Action - From Here To Eternity.

Zero.two Is Purely Audiophile Electricity To Twitch Your Body In All Directions. Do The Clikno!

Again Zero.two Is A Limited Vinyl-only Release Pressed On Transparent Vinyl Coming In A Transparent Sleeve - Transparent As Light, As Ideas, As Music And As The World Should Be - No Borders, But Freedom, Peace And Equality For Everyone!

Die "collapse Ep" Ist Aphex Twins Erste Neue Arbeit Seit Der "cheetah Ep" Aus 2016. Das Klangbild Aus Hyper-editierter Electronica, Durchsetzt Mit Seinem Typischen Acid-sound, Spuren Von Footwork Und Schwerem Bassbrummen Zeigt Den Zwilling Von Seiner Modernsten Seite Seit Seinem Meisterwerk "syro" (oder Vielleicht Auch Seit "druqs"). Parallel Mit Der Offiziellen Ankündigung Erschien Auch Ein Atemberaubender Videoclip Seines Langjährigen Kollaborateurs Weirdcore Zum Opener "t69 Collapse". Die Collapse Ep" Erscheint Als Cd, Standard-12" Und Limited Edition 12" Im Deluxe-packaging.

Music From Memory return with a further six tracks from Dutch musician Richenel. Continuing with recordings taken from his debut album 'La Diferencia', originally released in 1982 on the cult Amsterdam cassette only label Fetisj, the tracks on Music From Memory's second EP 'Perfect Stranger' includes alternate takes drawn from Richenel's personal copy of the album alongside a further composition which didn't make it onto the original Fetisj cassette.
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Studying set and costume design whilst making a name for himself as a singer and performer in Amsterdam's underground clubs, Richenel played with several disco acts and cultivated an extravagant cross-gender stage persona before connecting with members of the local label. Hooking up through their time together at the Rietveld art academy in Amsterdam, Fetisj was an experimental multi media collective which revolved around a loose mix of various young artists and musicians. Having developed a house band with artists going by a number of different pseudonyms the label set up their own small makeshift studio and would produce and sell the cassettes through their distribution network and at events across the city. Recorded amongst the turmoiled punk and squatter scene of Amsterdam against a backdrop of drugs and social unrest, the 'La Diferencia' sessions reflect a unique mix of punk aesthetics with a synthesized bedroom funkiness.

A somewhat illustrious figure in Dutch pop history with his flamboyant appearance as well as having one of the more exceptional male voices to come out of the country, Richenel would go on to record a number of successful albums and hit singles in the Netherlands and beyond. This largely unknown album on Fetisj however, seems to embody the spirit of another time; a particularly unique and richly creative moment in Amsterdam's musical and cultural history and one that is deserving of a much wider audience.

'Perfect Stranger' is co-compiled by Orpheu De Jong

Percussionist Jamie Muir was a member of King Crimson during the recording of Larks' Tongues In Aspic, in 1973. Staying less than a year with Robert Fripp, the Scot had already cut his teeth with another master guitarist, Derek Bailey, as part of the Music Improvisation Company, along with Evan Parker, Hugh Davies and Christine Jeffrey, whose eponymous 1970 album was one of the first releases on ECM. Muir and Bailey recorded Dart Drug eleven years later, in 1981.There's no shortage of great percussionists in the brief history of free improvised music but on the strength of Dart Drug alone Jamie Muir deserves a place at High Table. Unlike for example Han Bennink and John Stevens, though, you can't hear echoes of any particular jazz drummer in Muir's playing, even if he has expressed appreciation for Milford Graves (who himself sounded like nobody else who'd come before him).What on earth did Muir's kit consist of Some instruments are clearly identifiable (bells, gongs, chimes, woodblocks); others could be... well, anything. Old suitcases thwacked with rolled up newspapers Tin cans and hubcaps inside a washing machine Who cares It sounds terrific - but if you're the kind of person who faints at the sound of nails scraping a blackboard, you might want to nip out and put the kettle on towards the end of the title track.Dart Drug is consistently thrilling, and often very amusing - but it's certainly not easy listening. In music we talk about playing with other musicians, whereas in sport you play against another opponent (or with your team against another team). Why not play against in music, too That's precisely what happens very often in improvised music, and Bailey was particularly good at it. How can a humble acoustic guitar hope to compete with a Muir in full flight Sometimes Bailey's content to sit on those open strings, teasing out yet another exquisite Webernian constellation of ringing harmonics and wait for the dust to settle in Muir's junkyard, but elsewhere he sets off into uncharted territory himself.'The way to discover the undiscovered in performing terms is to immediately reject all situations as you identify them (the cloud of unknowing) - which is to give music a future.' Bailey evidently concurred with this spoken statement by Muir, including it in his book Improvisation.Derek Bailey is no longer with us, of course, and Muir gave up performing music back in 1989. All the more reason for seeking out this magnificent, wild album.

Brothers Harvey and Ryan McKay return to Drumcode with their dynamic Alias project. We were introduced to Alias last year when the McKay brothers dropped the impact-heavy 'Visions' EP mid-way through 2017. The duo followed with a lauded contribution for Drumcode Live and the buzz from fans was palpable. The follow up sees the pair in powerhouse form.

The title track 'NRG' is an attitude-packed tour de force; compromised of aggressive snares, warped vocals and a tension-filled break, it has been smashed by Adam Beyer for the last six months. 'Orange Sunshine' pulls no punches as it dishes out apocalyptic acid paired with the sibling's startling drum work.

'The Event' rounds out the EP and is an exhilarating affair propelled by uplifting synth lines and a buzzing energetic bassline.

(180 gram pressing, black vinyl) Musique Pour La Danse presents CRON aka TODD SINES 'Scalable Architectures', the classic 1995 EP remastered. For fans of Dopplereffekt, Drexciya, Keith Tucker, Mid-West Electro A highly sought after EP equally blowing your mind and the floor. Cron is a project where Todd Sines focused on his long-running passion for electro music by exploring a specific set of machines composed of a Synton Vocoder SPX216, a Yamaha DX 100 and an Arp Avatar in a vibe completely different from his .xtrak alias or productions released under his own name.

The record visual presentation was equally important as it features 3-D objects created Todd Sines through intentional misuse of mathematical functions, creating unique forms and 'scalable architectures'.

Please find the complete 1995 liner notes below for more informations. Comprising of an intro + five highly danceable futuristic electro tracks of deep, sharp-edged electric grooves and hypnotic warm cuts that are each an exploration of a 'less is more' approach to production.

Montreal's Minimal Techno veteran Pheek offers up a milestone vinyl release for the onset of this Spring Season. Lumo EP offers four vibrant dance-floor compositions, each delving into its own labyrinthine mindscape, leaving no stones unturned in an ethereal garden of listening. Lumo invites us into exotic, sprawling atmospheres- crafted with excessive care and the unmistakable studio-finesse that Pheek has become known for. Lovers of drums will be assured troves of bass-heavy, broken-beats and skittering, jazz-infused patterns which delicately tease and tantalize as they appear and flicker out. Seasoned prowess in sound-design allows Pheek to convey eerie, forgotten landscapes with periodic, lushly rising elements to bath the listener in unexpected lightness and thrilling serenity. Lumo will surely tantalize even seasoned listeners as it melts heavily saturated layers of depth over unexpected arrangements. The result is a stunning interaction at the crossroads of Minimal House and Techno, nudging the listener toward sturdy grooves while simultaneously introducing new pathways on the way to ever-increasing depth.

DUAT (pronounced "do-aht") was the realm of the dead in ancient Egyptian mythology. The deity Osiris was believed to be the lord of the underworld since he personified rebirth and life after death, being the first mummy as depicted in the Osiris Myth. The underworld was also the resi-dence of various other gods along with Osiris. The DUAT was the region through which the sun god Re traveled from west to east each night, and it was where he battled Apep, who embodied the primordial chaos which the sun had to defeat in order to rise each morning and bring order back to the earth. It was also the place where people's souls went after death for judgement, though that was not the full extent of the afterlife. Burial chambers formed touching-points be-tween the mundane world and the DUAT, and the akh, the effectiveness of the dead, could use tombs to travel back and forth from the DUAT

Special vinyl re-issue of Trentemøller's groundbreaking debut album. Includes all of the 13 songs on vinyl for the first time. Triple-vinyl in gatefold sleeve.

Trentemøller's debut album remains one of the few genre-defining and groundbreaking albums in many regards. It's still being praised for its composition and sounddesign alike and sounds as fresh and breathtaking today as it did when it was originally released in 2006.
The Last Resort - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It
manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods. Although it's an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. The album received fantastic acclaim from both music fans and journalists around the world and made it into the top-lists of the month, the year, the decade - alongside an array of awards for best production or best album.

Back in 2006, the original pressing only included a selection of songs from the original 13-track album release. It missed out on songs which had been released on singles or didn't "fit" on the so called "vinyl edition". Due to 'public demand' and simply because this album deserves a proper vinyl release we are happy to finally present, for the first time, the full album on vinyl. It spans of three vinyl discs and is packed in a beautiful gatefold sleeve which also holds a download-code. The recut has been carefully crafted from first generation, orignal masters by Calyx in Berlin. Since the album has been praised for its fantastic sound the primary directive was to cut the lacquers for the re-issue so that they would sound exactly the same as the original release, which has been the CD version of the album. No 'digital remastering' or any other alterations have been applied.
All 13 songs of the classic album on one vinyl release for the first time. Triple-Vinyl edition. Gatefold sleeve. download code. original sound-quality. NO digital remastering.

with »redsuperstructure«, robert lippok created a new foundation for his musical endeavors. now - 7 years later - this system properly comes to life on »applied autonomy«. the title of the new album is a clear indicator as to what the berlin-based producer has been up to during the last couple of years, both on a conceptual level as well as how he molds his ideas into tracks.
»applied autonomy« orchestrates a certain state of frantic standstill, which occurs once a structure is set. has this state been reached, the artist is free to focus on other equally important aspects, balancing the various shades, pushing ideas even further to really make them shine and blossom in their self-declared autonomy. the more light one lets in, the more layers become visible.
layers are key when it comes to understanding »applied autonomy«. big chunks of the material with which the album has been produced derive from sketches specifically made for a club performance. rather than meticulously devising each and every detail, lippok focussed instead on recording as many fragments as possible in a short period of time, elements which he could later combine and layer on stage. based on this material and his experience experimenting with it in a live environment, the album slowly began to shape. an album culminating in a collaboration with klara lewis, with whom lippok spent 2 days at the EMS studios in stockholm, approaching the idea of autonomy from yet another angle. during the session, both musicians played and performed simultaneously, yet not explicitly together, lost in their own thoughts and ideas, only subconsciously taking in what the other one was coming up with. the result is »samtal«, 14 minutes of a constantly evolving state of poise, magically connecting all the dots Lippok had already defined as »applied autonomy«.

It's time for a fresh new release from the Apollonia stable, and this time around we unveil four groovy gems from Shonky and Tolga Fidan working together for the first time, giving us a winning combination and one which is sure to satisfy fans of both artists. The first track 'Dynamo' sets the tone for the EP; the bassline has a deadly groove, while playful effects dance around at the top end creating an immersive atmosphere. Intergalactic vibes. After that comes 'Bastille', which features a similarly jaunty rhythm with a variety of bleeps, chirps and twangs layered on top on each other to give the track its depth and character, while a menacing b-line does its dirty work in the low end.On the flip we get 'Micro-Ondes', a mysterious into the undiscovered lands of planet funk. You feel as though you've been transported to another world, where warped creatures lurk, calling out for your attention. As for the bass, its rhythm is utterly contagious. Finally 'Americana' completes the collection, maintaining the unusual use of sound prevalent throughout the EP it utilises a myriad distorted instruments. Support in the low end comes via a tough, punchy bass riff.

After the original comes the remix. Or in this case three. I:Cube, Chinaski and Aera help you refresh your memory and re-draw "Drawn From Memory" from Benjamin Fröhlich's second part of the "Rude Movements" series. It's one single track, but every remixer has taken his very own approach and came up with a new interpretation.

The iconic French producer and Permanent Vacation long time favourite, I:Cube, transformed the original into a soul warming and heart melting late night bomb that lets the sun appear even in the darkest places. Chinaski out of Frankfurt, well known from his releases on Live at Robert Johnson and Uncanny Valley, fuses Italo Disco with a John Carpenter-style soundtrack aesthetic and an infectious bassline completed by a full on guitar solo in the break. Aera, fresh from releasing his album on Permanent Vacation, is slowing down the tempo, rearranging the layers of the original and adding a bubbly and underwater atmosphere that let the dub stabs shine. Three different versions that may represent different memories of one long night.

Lorenzo Chiabotti's 'Each One Teach One EP' starts with the subtly minimal roller 'Esc One', 'Blondie Brownie Beat' follows on, taking a more electro edged approach whilst title track 'Each One Teach One' bubbles along on a tide of energetic percussion.

Born in Burlington, Vermont, and conservatory-trained in the US, the cellist Tristan Honsinger moved from Montreal to Amsterdam in 1974, quickly linking with Han Bennink and Misha Mengelberg, and opening a long and fruitful musical relationship with Derek Bailey. Recorded in 1976, Duo displays a performative musical approach already characterised by the lack of inhibition which would later endear him to The Pop Group: he is knockabout, exclamatory, explosively rhythmic; burping Bach and folk melodies with spasmodic lyricism, in amongst the garrulous textures and accents of his scraping, bowing and plucking, and gibbering like a monkey; throwing out his arms and stamping the floor, grappling with his instrument like an expert clown, always on the lookout for new ways to trip himself up. You can hear Bailey revelling in the company, as he ranges between scrabbling solidarity and an askance skewering of his partner's antics, on prepared (nineteen-string) and standard electric guitars — and a Waisvisz Crackle-box, for the garbled, quizzical, cross-species natter which closes The Shadow. Throughout, the spirited interplay between laconic, analytic wit and guttural, sometimes slapstick physicality is consistently droll, often laugh-out-loud funny; vigorously alert, alive and gripping.

The 3rd release from Bon Vivant is a Various Artists. Apoena, Miguel Puente, Brandub and Cape on board. 

Mannequin's 100th - a comp looking forward featuring an international and serious cast... BIG TIP!
The modern synthwave scene would be significantly poorer without the keen ear and tireless efforts of the Mannequin label run by Alessandro Adriani. Geographically situated within the nerve centers of Rome and Berlin, yet with a musical spirit that easily transcends these boundary lines, Mannequin's back catalog has been an important component in the modular assemblage that makes up electronics-based independent music in the 21st century, and an important reference point for those who need to defend against the lazy accusations that this such is purely retro' in its form and content. Recent accolades and accomplishments - being named Resident Advisor's label of the month' for May of this year, starting the 'Death of the Machines' 12' series, and being given the 'green light' for bi-monthly parties at the Säule room in Berghain - have been earned through Mannequin's unflagging commitment to sonic diversity and Adriani's own realization that the anxious and sharp-edged sounds associated with, say, the Cold War of the 1980s can convey a completely different message today. Adriani says it best when claiming that there is no such thing as 'old' or 'new' music...only the music of now'. With this cogent statement of intent, Mannequin continues to go on exploratory missions to find the best and most relevant aspects of genres like acid, industrial, EBM, post-punk, coldwave and still more.

Which brings us to Mannequin's newest project and 100th release overall: the Waves of the Future double LP compilation, which itself is not a conventional retrospective collection. Case in point - none of the artists appearing on this collection have put out their own releases on Mannequin yet, despite acting as Mannequin's unofficial ambassadors (via DJ sets and other means). This makes the set even more compelling rather than less so, since it shows how Mannequin fits into a larger picture that includes other scene leaders and label owners including Beau Wanzer, Willie Burns (WT Records), Silent Servant (Jealous God) and Ron Morelli (L.I.E.S.). Of equal importance is how Waves of the Future projects a sense of aesthetic resilience and continuity, showcasing just how well the current artists allied with Mannequin employ and re-interpret the sonic lexicon that appears on that label's reissues of 'classic' acts such as Nocturnal Emissions, Bourbonese Qualk, Din A Testbild and Doris Norton.

However, none of this would matter as much if the music itself didn't have strong potential for lighting a blaze in the dark corners of the human imagination, and of course for forcing bodies into motion. Each track here pivots around a couple of key sound elements that seem to set the stage for the next track to come: see the sputtering / chopped ghost voices on Morelli's Charges Won't Stick,' which easily informs the slicing drone and authoritarian beat of Shawn O' Sullivan's Ill Fit,' which then lays down the emotional foundation for the sequencer-powered With You' from An-I & Adriani or the glassy landscape of Illum Sphere's Exhaustion'. Elsewhere, the wired mischief of Not Waving intersects easily with the spherical electro-funk and coded commands of Beau Wanzer. When all the disparate parts of Waves of the Future are soldered together, it perfectly illustrates Mannequin's non-linear philosophy and Adriani's suggestion that Mannequin listeners directly engage with the music rather than trying too hard to analyze or dissect it.

tested 'Then After' EP by New York duo Wild Dark.
'...Stemming from a partnership with two decades of experience behind them, Wild Dark takes on contemporary song-writing and gives it a unique, thoughtful, modern-take using a wide spectrum of electronic music to tell a story. The duo, comprised of brothers Corey & Ryan Negrin, stray from cold digital samples in favour of a warmer approach to writing music. This allows them to merge house, techno and natural vocal work into a cohesive concept that uses soulful yet charming songwriting to nurture a sophisticated palate of contemporary work...'
Then After EP includes two tracks featuring Alex Who 'When we first met Alex there was chemistry off the bat. With inspiration of being young and free, the lyrics and vibe to "Why Not"came together with ease. As the production progressed, the darker tribal elements came to life.
We wanted this track to resonate with the free spirited. This track tends to be a favorite of night.
"Born By The River", A Happy Mistake. The vocals, the elements, the soul, all stemmed from animpromptu recording and this beauty was born. With a list of organic household recordings,accompanied by a warm low end, we aimed to create a track that defied all genres.
"Talky Talkie" is the most club oriented track of the EP, with a persistent groove and synth elements that work perfectly on the dancefloor.
"I'll Wait" brings our bohemian flavour to shine, a track that's comfortable being played anywherefrom Burning Man, lost in the desert to the deep warehouses of Brooklyn's underground.
The digital release will include a special remix by Superlounge, a German duo known for their smooth house vibes. This is a must have release, available first on the label's shop online;

t r u e C o l o r s
A Brooklyn / London based record label that channels artist's most honest version of their
creations and shares it with the world through vinyl and digital platforms.

Australia's Nightime Drama welcome Steven Tang and label associate Trinity for a new collaborative EP that comes with two originals and remixes by Basic Soul Unit and Daniela La Luz.
Tang has long been serving up space age techno sounds on his own Obsolete Music Technology and the likes of Smallville, and Trinity is a DJ, live act and producer from Sydney who plays key clubs around Europe and releases on Counter Pulse and Coincidence as well as this one.
Innermost Search opens the EP with supple and rubbery drums carrying you off into the cosmos as spaced out pads bring real scale and emotional depth. It's a cinematic house track with vivid imagery. Then comes a remix from Dekmantel's Toronto mainstay Basic Soul Unit that is much more busy and robust. A wide lead synth line sprays about above drums which are much bigger and heavier. It's prime warehouse material to get people marching.
Tang & Trinity's Adrifting Voyage then slips back into a deep, cerebral house groove with oodles of reverb and dubby chords cut though by icy hi hats and transcendental pads. Last of all, Berlin's Daniela a La Luz (who has released on the likes of Cocoon and !K7) remixes this one into a lively, nimble house track with curious melodic riffs and tough drums appealing to both head and heel. It rounds out a fresh and powerful EP of futuristic house music.

The Music for this release was a process of literal Catharsis, a purging of a build up of negative thoughts and emotions, but the music is also designed to be confrontational. The intent is to challenge mediocrity, to ask questions about the whole notion of techno as merely a form of debauched escapism. The music also asks questions about destructiveness and apathy. The aim is for something with meaning, as opposed to transience. Our demons are your contentments'

Catharsis is the result of the meeting and collaboration between veteran techno producer 'Heretic' and dark ambient producer 'Emission'.

The project is a quest to explore and purge negative thoughts via music. a modern ascetic experience in the pursuit of inner peace.

Total submission

Total immersion

Destroy the inner voices...

Tom Flynn marks his first appearance on Exit Strategy, starting off with a strong package of four tracks. Each of them tends towards a slightly different side of his ecstatic and clean production style - making this a very coherent well balanced collection of killers.

Dutch jungle loons FFF and Coco Bryce team up once again for another Amen excursion on Myor Massiv. Space is the place on this 12', with both jams featuring a short documentary's worth of chatter about giant planets, failed stars and opposing quadrants. Whereas FFF takes a rather intricate and, dare I say it, intelligent approach on the A-side, Coco Bryce's 'More Massiv' goes straight for the throat, with Amen chops and a double tempo pulse bassline being dropped mere seconds after take off.

Finally, the long awaited third part of the EXTRAWELT trilogy on Cocoon Recordings is on the way, and with this advance 12 release of 'Fear Of An Extra Planet (Blackout)' and 'Hail The Whale' we are given an incredibly strong first impression of EXTRAWELT's third Album. "Fear Of An Extra Planet (Blackout)' in particular, has the potential to become a monumental club hit. The title track from the new EXTRAWELT album is, strictly speaking, more than just a maxi-version, it's almost a separate EXTRAWELT remix of the original, fully optimized for the clubs. Arne Schaffhausen and Wayan Raabe have let loose a real bass and drum monster on us. From the very first second, the doubled-up kick bursts from the bassbins to signal the journey into this new EXTRAWELT adventure is underway. The acid-heavy bassline completes the pressure-packed arrangement until the track suddenly stops dead. Sometimes it's just so simple and effective to completely hit the brakes before re-energizing and building up to full speed again. The 12 version of 'Fear Of An Extra Planet (Blackout) 'is a powerful techno bomb and for us - one of the highlights of the year! The exclusive, non-album cut 'Hail the Whale", starts off a little more subdued. However, the cool old-skool cowbell intro with light Chicago house touches soon develops an energy through a driving electro bassline that shakes us from the initial calm. Although 'Hail the Whale' doesn't appear on the album, it perfectly represents the science fiction sound aesthetics on EXTRAWELT's new LP. Sci-fi FX, distorted vocals and dramatic synth lines envelop us in an extremely intense soundtrack atmosphere. From warp speed space travel to misty wastelands on strange planets and breathtaking pursuit scenes, 'Hail the Whale' conjures up all manner of images as it hammers from the speakers. To be honest, the notion of 'grand cinema' has already been used too

Yet another highly in-demand 12" from the Philadelphia International stable and an artist who's records never go out of date! This is a killer double-sided beauty with the frenetic and jazzy "Life On Mars" from his debut 1976 album on the top-side and the mellow all-time classic and soul boy anthem "The Sweetest Pain" from 1979 on the flip.

Two very different sides of a great artist, both of which show the level of diversity that he was capable of producing. The last legitimate release of this was back 1999 and a Mint copy will currently set you back circa £50, if you can ever find one. Word of warning: there are some U.S. bootlegs from 2008 that still appear to be in circulation and which are easy to spot since they use the U.S. silver P.I.R. label.

We are currently getting these taken down and hopefully they'll soon be removed from the marketplace. Accept no substitute! All our 12" re-issues are licensed from the copyright owners and legally covered. No time for fakes over here!

The Cryovac machine operates independently to service the world with an original strain of techno. Our people are pioneers of their own sound and seasoned veterans of its' cause. This cause is the basis for our action and the motivation for our vinyl. Cryovac believes the vinyl format is the truest way to take in our music, and this is why we take great care to personally craft our own plates and photograph our own art. The Cryovac approach and stance make it a true oddity in a world of commodities, and we hope you realize, feel, and respect our work.

Andy Vaz is a rebel from the city of Cologne. He is a creator of techno labels that follow their own path and challenge the standard dogma. His version of the techno sound has gone from stark and funky minimalism to synth cascades and housey feels. Andy Vaz is the perfect choice to collaborate with Andy Garcia. Garcia's brand crunchy soul tech mixed with vocal nonsense is the yin to Vaz's yang. These like minds share a name, a spirit, and a drive to keep moving forward no matter the cost.

For the eights Edition of the fancied "Parquet Most Wanted" EP we have another 4 melodic House & Techno Masterpieces, dancefloor-proved and worldwide supported by international tastemakers! Enjoy upper-class productions by Township Rebellion, Ryan Davis, Solee, Alyne and Ubbah & Lunar Plane! 100% Must-Have!

DC175 comes courtesy of Alias, a new project comprising of Harvey & Ryan McKay, who are two acts who have previously released solo material on the label. Harvey McKay's last appearance was in late 2016 when he dropped 'The Mad Drummer' on A-Sides Vol. 4 whereas Ryan McKay's last outing was in 2015 when he appeared on A-Sides Vol.3 under the name Skiver. This is the first collaborative project between the Scottish duo under their new moniker Alias.The EP opens with 'Pentatonic'; A tough sounding track that has been designed for the forward-thinkers. 'The Truth' follows up sharply, with vintage piano stabs and a vocal that gives the track abounding energy. The on-point percussion leads you on a trip of pure rapture. The release closes with the apocalyptic 'Dream Taker', which is teeming with sinister vocal action and hostile synth work and a sublime way to sign off.

Gidge is a production duo consisting of Jonatan Nilsson and Ludvig Stolterman. Based in the northern parts of Sweden, Gidge quickly built a solid fan base with releases of their albums Autumn Bells, LNLNN and Lulin. The music of Gidge seems to affect their audience in an emotional way, which eventually resulted in the duo taking the top spot as Best New Artist at XLR8R's readers poll, as well as having the 3LPs ending up on numerous end of year lists. Their main source of inspiration is the vast, snow-covered woodlands of the North. Gidge have for instance recorded all of their percussions in the forest, using only the sticks and rocks that can be found there. 'For Seoul' though came about after the duo went on a trip through Asia, and spent a number of days in the South Korean capital. They fell in love with Seoul, and later on created this two-part hymn for the giant city. Applescal created a remix for the track, which you can listen on the b side.

Much may have changed over a two-decade period, but Drumcode's commitment to releasing the scene's most cutting-edge and refined techno remains resolute. 2016 saw releases from heavy hitters such as Adam Beyer, Alan Fitzpatrick, Dense & Pika, Sam Paganini and Joseph Capriati, as well as a much coveted Moby remix package. The label pushes forwards again in 2017; bringing fail-safe, club-ready music to the techno community. 2016 was a standout year for Alan Fitzpatrick, with the Drumcode stalwart racing out of the gates in spectacular fashion with the release of his fabric 87 mix. A substantial amount of high profile shows followed, including appearing at the inaugural Junction 2 festival and closing the car park to a packed-to-the-rafterscrowd at Drumcode Halloween.
He returns to Drumcode with 'Brian's Proper Dun One', marking his first appearance on the label since late 2016 when he remixed Moby's seminal 'Porcelain'. The release opens with 'Brian's Proper Dun One', a track which caused a Twitter meltdown on Alan's profile when he first started playing it at the tail end of 2016. Loaded with sharp and pounding drums, this is an ethereal experience from start to finish and packs a real punch. It's a no holds barred, certified main room anthem. 'Wait A Second' feat. mc r1bbz has been a staple of Adam Beyer's sets of late and has been getting a lot of air time on Drumcode Radio.
This rave inspired track takes a raw, stripped back approach and delivers a real killer blow. Alan sampled the vocals of mc r1bbz from an LTJ Bukem tape pack from the early 90s and the record tips its cap to early jungle raves around the M25.
The release closes with 'Trance, Init'; A homage to Alan's days first and foremost as a raver before he became a DJ, with his non-purist attitude when it comes to electronic music shining through. The breakdown is sure to be a hands in the air moment at festivals all over the globe this summer.

Common Series' footprint is the 'Experimentation' and you can find it in the sixth release too. Marco Erroi with some musicians give us four sunny tracks, as the cover tells. They have been exploring Italo House and Balearic sounds. The psychedelic touch together with some blue vocals and a jazzy saxophone make CS06 all different. It is the 'Aperitivo' time somewhere on the Riviera! Limited edition of 250 hand-numbered copies.

Modularz presents a special edition release
Taking a bit of a different approach to whole getting deeper and focusing on the details that make it happen on the floor !
This is a solid 4 track techno banger written and produced by Juxta Position who was previously featured on DVS1's
Mistress Recordings, Rhythm Nation and his own Failsafe imprint, the release displays great Razor sharp percussion with
melancholic synth lines, whilst serious sub bass shifts much air and shimmering moods filter across the mid range.
This is another one of those never leaves the bag EPs Play it loud!!

CHRISTIAN NIELSEN is a musician you would not immediately expect to see behind the SPEICHER / KOMPAKT EXTRA crest. We love to surprise your ears and have enjoyed for some time his outsider approach to any genre he chooses to tackle. In particular with 'Hard Times' - a prime-time melodic monster that bridges the right transitions. Right when you need them to.
Berlin via Belgium techno juggernaut LOCKED GROOVE has been on our radar for ages thanks to releases on HOTFLUSH and AFTERLIFE. 'Dawn' is one of those magical tunes that loop along but evolves with every listen. You hold us to it that we think it could be the best set opener 2017 will have to offer. Intricate drums balance well with lush minimalistic melodies.
Our SPEICHER series rapidly heads towards 100. Where it goes, only we know - so savour the flavour while it lasts.

Cellaa Zoo's first vinyl only introduces a handful of new and also many label mates and companions, such as Marc Faenger, Ecco, &lez, Peppe Markese and Profano. In Cellaa Zoo usual nonchalant style, you can expect deep driving arrangements. Through the precisely applied sub-basses and the unobtrusive synth pads, a first class sound-performance is guaranteed.

Four different tracks, four times 110% Cellaa Zoo quality! So if you have listened to the full EP, there only will be 4 words to describe it: this is DOPE SHIT!

RAWAX welcomes Maartenvan der Vleuten to the family!

We have the honour to present you some unreleased tracks from the 90'!

The Dutch producer, composer and recording artist born in Vught, The Netherlands in 1967.

From 1987 to 2007 he has used over two dozen aliases producing Detroit techno, electro, house, experimental and ambient tracks and remixes.
Early 2008 he announced to only use his real name (or his initials MVDV) for future releases.

During the 90's he recorded mainly dance/techno for R&S Records, Outrage Recordings, Apollo Records (Belgium), Djax-Up-Beats, See Saw, ESP and Klang Elektronik and several other labels. Since 1996 he is also releasing music on his own label Signum Recordings. The two sublabels of Signum; Passiflora and Glam, are now both defunct.

He is the founder of Signum Recordings, Passiflora Records and Glam Records.

When we started Ilian Tape 10 years ago in 2007, we were both basically kids at the ages of 23 (Dario) and 18 (Marco). There was no plan behind it, no concept, no promotion campaign or any budget, but just an early vision of where it could go. We wanted to build something that lasts. After a few years of playing at parties and producing music, it was the next logical step to start a label. You can clearly see us growing up through the label in terms of artwork, compiling the records and handling things. We made some mistakes along the way and there are surely things we could have done better, but looking back after 10 years now it all makes sense as it was a natural and human development with all its ups and downs.It was always a very personal project, never about making money, but about creating a platform for music we believe in and building relationships with artists in a transparent and fair way. We really appreciate that we were able to work with so many great artists, who shared the same vision and trusted in us, over all the years. A while ago we moved away from the ordinary release info write ups, because in general writing about music is tricky and who isn't tired of the typical, full of praise for every detail of a record, release textsBut this might be starting to get boring for you too, so just buy this lovely triple vinyl package including a poster and download code, light one up and turn up the volume!One last thing though - we want to deeply thank our parents for teaching us to live our dreams and find out who we really are, our friends for the vibes and honesty, all the artists releasing on the label, all the supporters & fans for buying vinyl and files, all the DJ's playing out the stuff, all the diggers selling the stuff overpriced on Discogs, all the dancers working out on the dancefloors & all the clubs doing label nights over all the years.

Music has always coursed through Roman Lindau's blood. Even if he weren't the accomplished producer and respected DJ he is today, the German audiophile would still be spending all his money on the stuff; giving over all his time to the art form. ''I'm a music junkie. I need music to live'' he states matter-of-factly. ''For me it's the elixir of life.''

Good job, then, that he gets to spend his ..

Roman Lindau is a German techno DJ, artists and producer, as well as being a core member of the infamous Fachwerk Records from Berlin.

Music has always coursed through Roman's veins ever since he was a young boy so it is no suprise that he became the accomplished producer and highly respected DJ that he is today.

In the late 2000´s Lindau became active in the Berlin electronic music scene, beginning to play music in clubs as well as producing his own music.
The first track he released in 2008 on his home label Fachwerk Records appeared in one the world famous Berghain Mix Compilations, mixed by Len Faki.
Following from this Berghain invited Roman to contribute an exclusive Track for Ben Klock´s Berghain Mix in 2009. After this success the gates opened for him to play regularly as a DJ at Berghain.

At the same time he continued to work on music for Fachwerk Records. He produced dance floor smashers like ´Crasse´ in 2011 and ´Rave on´ in 2014, which were charted by the likes of Ben Klock, Sven Väth & Chris Liebing, afirming his deserved place amongst the techno elite.

More recently in 2015 the well known Victor Calderone from NYC invited Roman to release on his label Matter+.

The reason why Roman is such a great DJ is because of the fact he knows what the people want! ''I love to dance and that's very important: as DJ you need to feel what the crowd want so you can help them to party and have fun.''
Combining a varied selection of raw house and techno in his sets, recent bookings have taken Roman across the world; from the hallowed techno Mecca that is Berghain to dark underground clubs as part of the recent Fachwerk label tour.
He has performed at every legendary Berlin venue, past and present from Tresor to Berghain, and it is this that gives Roman the edge above the rest. If you can do it there, you can do it anywhere!
From 2014 Till the closing he was a resident DJ at Stattbad, one of Berlins findest adress for Electronic Music.

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.

Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the '80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.'

Technology is only a tool, which we also had in mind during the recording process.' Adds Lawrence. We decided to go back to how we used to make our records, when we didn't have so many 'sophisticated' audio devices. Back to when we interacted in the studio together as musicians.'

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.


The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of (Where) Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

Originally released on Studio !K7 Records in 1998, Peter Kruder and Richard Dorfmeister's groundbreaking release, 'The K&D Sessions' reset the bar for what could be achieved in a compilation. Across an array of original tracks, dubs and infamous 'K&D Session' remixes, the DJ and producer duo took the listener on a smoke-filled blunted journey that flowed flawlessly.
Often compared to DJ Shadow's 'Endtroducing' for it's similarly deft craft of rhythm and quoted by Allmusic as "the most blissfully blunted music the world has ever heard", the album has sold over 1,000,000 copies to date and was included in Spin's 'Top 20 albums of 1999'.The album has long since been deleted on Vinyl with original 4LP sets changing hands for €300+ on the collectors market and even a bootleg vinyl copy will set a buyer back over €100. Sixteen years later, this legendary album will be available as a long overdue 5LP reissue remastered by Bernie Grundman Mastering in Hollywood.

&apos's music veers between abstract, experimental compositions and more beat driven tracks, all held together by a defined aesthetic of sonic impurities and random patterns thrown up by algorithmic computations. In &apos's music compositional decisions are not merely reliant on himself but also on a range of processes from constrained randomness to full fledged neural networks. That is to say, the 'instruments' he creates have -to a certain extent- a mind of their own. There will always be a dynamic between the musician and something else that triggers, proposes or decides what will happen to the music.It is exactly from this human-machine interaction that &apos extrapolates his musical ideas that are both intricate and detailed while never losing an overall sense of emotional value.
His first solo project 'Lichtdrank' is a selection of four tracks made during his time studying Sonology at The Hague's Royal Conservatory and the time following. It is the third and final installment of bepotel's startupLabel trilogy. Previously, he has released music together with Walrus and Sagat under several musical projects like smaakwaterval and bepotel. The artwork of the Lichtdrank EP is based on screenshots from an interactive multiplayer video game where the musical universe of &apos can be explored.

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.

Aphex Twin aka Richard D. James meldet sich mit der fantastischen "Cheetah EP" zurück, auf der er mit deepem und melodischem Techno und Acid im Früh-90er-Style überrascht. Benannt ist die EP nach dem Synthesizer Cheetah MS800, eines der am schwierigsten zu programmierenden Instrumente der Welt, mit dem Richard die meisten dieser Tracks aufnahm. Das Artwork ist ebenfalls im 90er-Retro-Style gehalten.

After the sensation caused by his last release, Elchinsoul comes back strong with another battle cry into the darkness on Cellaa Music.

In his usual nonchalant style, you can expect deep driving arrangements. Through the precisely applied sub-basses and the unobtrusive synth pads, a first class sound-performance is guaranteed.

Made to fill dark basements, clubs and also festivals with sound.

The EP contains 4 tracks and includes a masterpiece of a remix by Sven Jaeger, and a special vinyl only track, which will not be availeable digitally. If you have listened to the full EP, there only will be 4 words to describe it: this is DOPE SHIT!

Outway a duo of DJ/Producers based in London, formed by Mattia Lotta and Siro Pertile officially launches their debut EP for Cellaa Music.

They appeared on labels like Deeperfect, Basswalk, Noexcuse, High Pressure, Undertechnical, Pild records, Makossa,Beat It Music, Jekos Lab and so on ...
In their usual nonchalant style, you can expect deep driving arrangements. Through the precisely applied sub-basses and the unobtrusive synth pads, a first class sound-performance is guaranteed.

The EP contains A New Age,The Weapon, Ignorance and Ice Bell, four smashing tracks you will never get bored of. Put your sunglasses on for this after, and say goodbye to the last stars of the night.

Keep your eyes on this one!!!!

Not one to be pigeonholed, highly respected DJ and producer WILL SAUL has always run the gamut of electronic dance music: from deep house to techno and UK bass, his sets and tracks like to rock the boat of any given genre, taking in contemporary impulses as well as classic inspirations. As label honcho for iconic imprints like Simple or Aus Music, he further honed his ear for the perfect groove and was invited to bring his expert selection to the revered DJ Kicks mix series in 2014. A remix collaboration with fellow UK producer October for Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) turned out to be a fine first foray into Kompakt territory - now to be succeded by the LOST IN TIME EP, for which he teamed up with Bristol-based soundsmith KOMON. Komon & Will have been collaborating for many years, resulting in tracks on Will's DJ Kicks and remixes for labels such as Ninja Tunes (Kelis) and Houndstooth (Throwing Snow). Komon has been a mainstay on Will's Aus Music imprint, with solo releases and regular collaborations with Appleblim. For Kompakt, they turn in a swooping trio of floor-versed cuts that are no strangers to atmosphere and experimentation, but like to keep the crowd in check with outbursts of pressurized funk. Leading the pack is the title cut featuring quality vocals from BEN WESTBEECH (aka Breach), flanked by the introspective DRONE and immersive mover DIGITAL PARADISE - a versatile and powerful outing from two artists that know perfectly well how to set the scene.
(de) Als einer, der sich nie leicht kategorisieren ließ, hat der hochrespektierte DJ und Produzent WILL SAUL stets die gesamte Bandbreite der elektronischen Tanzmusik zum Thema gemacht: von Deep House zu Techno und UK Bass findet alles den Weg in seine Sets und Tracks, jenseits von Genregrenzen und gerne inspiriert von zeitgenössischen wie klassischen Impulsen. Der Macher hinter gefeierten Labels wie Simple oder Aus Music ist bekannt für sein feines Ohr am Groove der Zeit und hat seine Expertise in 2014 für die berühmte DJ Kicks Mix-Reihe zum Einsatz gebracht. Eine Remix-Kollaboration mit dem befreundeten Klangschmied October für Michael Mayer's MANTASY REMIXE 2 (KOMPAKT 272) entpuppte sich als grossartiger erster Ausflug in Kompakt-Gefilde - nun der Schritt zum eigenen Release mit der LOST IN TIME EP, für die er sich mit dem Bristol-Produzenten KOMON zusammengetan hat. Komon & Will arbeiten seit vielen Jahren zusammen, was bereits zu Tracks auf Will's DJ Kicks and Remixen für Labels wie Ninja Tunes (Kelis) und Houndstooth (Throwing Sbow) geführt hat. Dank seiner Solo-Releases und der Kollaborationen mit Applebim ist Komon ein gern gesehener Gast auf Will's Aus Music. Für Kompakt liefern die beiden ein bissfestes, tanzflur-erprobtes Track-trio ab, das gerne in experimenteller Atmosphähre badet, den Tänzern aber auch gerne mit Hochdruck-Funk Beine macht. Der Titeltrack brilliert mit wundervollen Vocals von BEN WESTBEECH (aka Breach), flankiert vom introspektiven DRONE und dem mitreissenden Schieber DIGITAL PARADISE - eine vielschichtige und kraftvolle Darbietung von zwei Künstlern, die ganz genau wissen wie man den Beat in Szene setzt.

After two eps on L.I.E.S. Voiski heads East making his debut on the CCCP sub-label. We are treated to classic Voiski material here- all the elements he excelled at on his previous efforts all present-massive drum programming, huge basslines and epic builds carry the songs along. 100 percent guaranteed club approved and essential for any Voiski fan.

repressed !

It was in 2014 when a mutual friend introduced me to Victor Ruiz while he was staying here in Berlin. I invited Victor to my studio where we had a fantastic session, playing our music to each other, listening to stuff we like and simply talkin and connecting. Since then, we became close friends as well as starting to work together. Victor has released two outstanding EPs on Electric Ballroom by now. This summer we met again and recorded three tracks. The result is our first joint EP, of which I am very proud.

Repressed!

Less than a year old, the newly formed label Apollonia presents its debut album releaseInviting you on an imaginary journey in their Lotus Seven, a road trip back to '90s San Francisco takes Chris Carrier and Hector Moralez on a musical mission, stopping for hip hop style smokes, disco jams and soul-warming joints on the beach; this is an exploration through their colourful inspirations and rhythmic upbringing.