Search:art of tones

Zeal....Enthusiastic devotion to a cause, ideal, or goal. In our case devotion to deep, dubby, warm mirco grooves.

The label's first release comes from 'Monsieur Georget' which is an alternative alias for well-known French producer Chris Carrier, who many will recognise from his own label Adult Only Records, along with releases on other labels including Robsoul, One Records, OFF Recordings and Silver Network.

The release also features a remix from stellar German artist DeWalta, who along with a number of seminal releases on Meander, is a regular collaborator with Mike Shannon and boasts releases on other labels including Vakant, Haunt and Visionquest.

Track one titled Le Village Flottant' is the first of the three originals on the release. Setting the tone of what's to come, it has stripped back drums with delicate sprinkles of delay that are brought to life with a wonky lead synth and poignant piano stabs. The track fuses intricacy with dancefloor focused energy.

Second track called Mecrant Des Oceans' has gliding synths that line the back of the mix whilst the morphing tones and subtle squelch of an acid line provides the momentum. Murky and mysterious, there's a metallic ring to the percussion and it's a fine example of how less can often be so much more.

Third on the release is the DeWalta remix of Le Village Flottant' and keeping the originals ride, he adds his own dub Techno influence. With new synth parts he cuts the already stripped drums to a bare minimum, which gives his added synths plenty of room to breathe and creates a captivating ambience.

Finishing the EP is the third original track titled Picnic Dans Le Metro' and like the rest of this release, it twists and turns with rippling textures and deep atmospherics. Each drum hit is crafted with expert precision and every textured synth sound merges to create the perfect groove and mood.

Drumcode reserve their Limited branch of releases for the special and outstanding productions. Pressing them onto vinyl only, providing the perfect collectors item and sound that techno lovers worldwide constantly pursue.
The current catalogue of Drumcode Limited releases include names such as Adam Beyer, Alan Fitzpatrick, Tom Demac & Glimpse, Ben Sims, Steve Rachmad, 2000 and One and Marco Faraone. dubspeeka proudly joins the list of acclaimed artists to present the forthcoming vinyl only DCLTD20 - sk30.

Continuing his surge through the world of techno, the Bristol based producer has never strayed from the sound that has proven to be so popular amongst colleagues and fans alike.
The dark, haunting and powerful tones that resonate from the opening track sk30 showcase why dubspeeka has made his mark on the underground scene for a number of years.

Once again the chilling synth arrangements that have become synonymous with dubspeeka's style echo throughout the track clashing against the distorted vocal sample.

Yet another example of dubspeeka's unparalleled studio work, the production is intricately woven together with a tight thunderous kick drum demonstrating his prominence as an underground artist of the highest caliber.
Markus Suckut provides excellent support on remix duties for sk30.
Another purveyor of a unique sound, the German-based producer doesn't hold back
when tackling this mammoth remix.
The hard and relentless bassline conjures the perfect background for the bubbling synth tones and echoing percussion.
Markus Suckut demonstrates his skill and experimentat
ion that he pours into his own
production with the powerful and enthralling remix of sk30.

In the follow up to their recent 10 Year celebrations - Aus Music present another landmark signing for the label as they triumphantly welcome long term friend Paul Woolford into the fold. Few artists can boast of a catalogue as consistent and as evolutionary as Woolford and his latest offering for Aus - as ever - lands right on the mark in delivering a beguiling trip split over two sides of vinyl. 'Heaven & Earth' is a rich and elongated House record that contrasts bright orchestral melodies with thick, tearing bass tones. Together - these two primary elements create a fervent sense of tension that no doubt will soundtrack countless memorable dance floor moments over the festival period.

Not even a month has passed since Sierra Sam and Pascal Hetzel ´s CYRK project launched with the high impact homage 'Tribute' and they return with yet another respectfully rooted release.
Channelling the energies of Detroitian agenda-setters such as Inner City, Joey Beltram and Scott Grooves, CYRK celebrate the original template and ingredients that have gone on to inform every genre that's since passed. Easy to say... A dark art to master without repeating something that's already been done before. Safe to say that CYRK definitely have that art mastered...
Its deft ping-pong riff echoing through classic detuned synth tones and unrelenting beats refusing to stop even for the honeyed evocative tones of singer Christine Eusebio , 'Fantasy' is one of those tracks you'll feel you know but also understand its freshness instantly. The type of track that gets crowds grinning like Cheshire cats the second it pops on... Even though they've never heard it before. Rooted in history, coded in innovation, it's more proof that CYRK's three-headed formula is better than one.
Remix-wise both Pascal Hetzel and Gerome Sportelli remain in Detroit: Pascal looks towards the likes of Mills and UR's 'World Power Alliance' phase for inspiration with his heads-down, militant techno aesthetics while Gerome conjures up sensations of Cybotron and The Preps with his slinky, ice-edged electro adaptation. Both versions take Christine's surging, sensual vocals to new creative pastures... And they've invited you to do the same with the acapella version, too.
Celebrating a legacy while keeping it fresh, CYRK remind us where we've come from... And where we're heading.ind us where we've come from... And where we're heading.

Figure SPC inevitably arrives at the alphabet's last letter and therefore the end of what has been a most prosperous runtime and success story. Already accountable for its first release 'A' seven years ago, Jeroen Search has proven essential to the sublabel's course with his many cornerstone contributions. This final, special extended release grants him the ample scope to tell the closing chapter in all proper detail. Spread across two fully packed 12s the Dutch veteran producer wastes no time but lets his ever evolving array of machines do the talking. They speak in many tones - be it snappy or propelling, vivid or restrained, stomping or intricate - yet they all retain Search's consistently singular voice. Each of the nine tracks was composed as a live take, with elements being reduced to the utmost minimum but always carrying the kinetic energy onto the next bar. Thus this ultimate catalogue number SPC Z not only bears witness to an artist's impressive ability to reliably distill the pure essence of a groove. It is also the grand conclusion to an esteemed series that has become a staple in many DJ's bags, brought forth plenty of future classics and left its unmistakable mark on techno. Crafty, refined and irresistibly moving, this record is sure to be stirring up dancers around the globe.

Saft welcomes 'Nortasun' to it's expanding roster of artists. With not too much info being available about the artist, the music should do the talking. 'Nortasun' comes up with a sample drenched EP that consists out of swell basslines, mind expanding chords and outlandish percussion works. ''Untitled 1'' opens up with a carefully placed disco sample that hovers over the rhythms very nicely. The percussion section and the ascending chords serve the overal ambiance while Nortasun plays with the extended loop pattern that maintains of interest. ''Untitled 2'' serves as a very deep but functional voyage into tribal territory. A vary of percussion sets in and smartly exchanges tones with FX cuts. On the B side ''Fudge Fingas'' debuts on SAFT with an atmospheric beast of a remix for ''Untitled 1'' that constantly grows and cleverly uses vocal cuts that change up the original atmosphere and makes the overall a very broad work of house music. The Stevie Wonder like clava hit + piano solo's that come in when the remix progresses are all in courtesy of the Edinburghian producer himself.

HVNX is a new Hivern sub-label focused in concept EP's and mini- albums from artists in the label's orbit. The series will be a platform for more adventurous sounds, with a special accent in techno and hard- ware jams. Every release will include a photocopied inlay with a mood board of the artists' inspiration for that release.
Bep Kororoti is a mythical ancient astronaut worshipped by the tribes of the Amazon Jungle. It's also the name chosen by Alejandro Rodri´- guez aka Kresy for his new side project. The music on this 12' mostly comes from hardware live jams recorded in one take, which translates into the primal energy of the tracks. Constructed around raw drums, decayed tones, corroded synths, acid bursts, ritualistic chants and an overall toxic haze, it's music that sounds primitive, menacing and intri- guing all at once. Just as the tales of ancestral visitors from outer space that inspired it.
All the releases of the series will come wrapped in a special sleeve designed bi Hivern's in-house designer Arnau Pi.

Ostgut Ton reissues Acht of Zehn with original tracks by DIN (aka Efdemin and Marcel Fengler), Fiedel and Tobias.
2015 marked Ostgut Ton's ten-year anniversary, celebrated with an extensive 30 track compilation release, titled Ostgut Ton Zehn, spread out over ten 12 vinyl records housed inside a limited box set. This sampler sold out in no time, which is why Ostgut Ton is re-issuing these ten 12"es individually in 2016.
Bubbling synths, a stoic bassdrum, some live hi-hat percussion and synth pads full of bliss - what started as Marcel Fengler's and Efdemin's inaugural collaboration as DIN for 2013's MASSE ballet sees its continuation in form of Mono' on A1. On A2 Fiedel contrasts the opening track's cool sounds with an upbeat contribution: Probe-806 gently brushes Funk, Electro, Acid and even Boogie territory atop the general muscular rhythm.
Analogue synth aficionados are being served by Tobias.: Like A Drug is a minimalist Techno track with maximalist dancefloor effect through its use of haunting, distanced vocal fragments, discomforting alarm tones and crackling background textures. As with every good drug, you don't necessarily want more of it, but rather a longer duration of effect (in this track's case: 8:36 minutes).

For its premier release, Division Point Industries is proud to announce a 4-track EP by Rolling Ones, a collaborative project featuring Johannes Auvinen (Tin Man) and Jordan Poling (Jordan). Rolling Ones finds its voice in the synthesis of each artist's sound, combining Tin Man's acidic melodies with Jordan's deep, textural pads. Debuting at the Division Point Industries residency at Bushwick's notorious Bossa Nova Civic Club, Rolling Ones marked their arrival by playing a DJ back-to-back set. Opening the record is '93' Mustang', a muscular, no-nonsense roller built around deep wells of warm bass and slick-piston percussion. As it builds, Tin Man's signature acidic squelch dances in the remaining space, giving the track a sense of both life and depth. Next is 'Faded Delorian', an abyssal burner that refracts its ghostly tones around a panning labyrinth of crystalline synths. On the flip is 'Slammed Cadillac', a sinewy, stripped down stomper of clattering percussion and caustic 303s. 'Jacked Up Impala' finishes the record as a jacking acid tool. Founded by Jordan Poling, Division Point Industries is a new label built on the success of a collaborative residency with Cory James at Brooklyn's Bossa Nova Civic Club. Having hosted artists ranging from the established to the underground, Division Point Industries has crafted a no-nonsense take on deep house and techno that is rich in history while remaining focused on the future.

On November 13th, PNN Records will release the debut album of its most enigmatic artist,
myr. 'Diamondbacks Make Wonderful Pets' is more than just a strange name, it nine tracks represent an exciting evolution in myr.`s trajectory as an artist. Following his debut EP 'Nobody knows Avalon' myr. seems to have dug deep and discovered another level to his sound. Each of the tracks on the record are confidently offbeat and precisely composed.
'A Little-Bitty Bowl (with B.Hotton)', mixes thunder sound-effects with glitchy synth bleeps, layering them above darker tones which build to a perfect storm in the middle. This 10 minute track fails to get boring and is representative of the album as a whole. myr.`s ability to carry off strange hybrids is what makes his music unique. From the ghostly warbles of 'I Think I Hear Them Coming' to the sunnier sounds of 'Eleanor', myr.`s disregard for the norm has lead to an exceptional record that surprises at every turn.

Cologne based artist 'Adryiano' has finally threaded into label managing waters. Ever since the emerge of his multi functional platform 'Cestraw' back in 2011 Adryiano has been twisting and thinking on when to launch the label side of things. After the humble success of his latest "Down South" effort on Soul Notes it felt like the right time.

CR/001 turned out to be an emotive dance floor record that touches several different modes within the spectrum of underground dance music. From the straight forward 303-anthem "Break Module" to the uplifting yet deep, Chicago-ish tones of "Path Of Yours" - Adryiano's "Default EP" is set to unfold just in time for the cold, dark days before Christmas.

Riding high on the success of a second release that introduced A-Scott & Chad to the Constant Sound fold, the third instalment finds Burnski back in the saddle to offer up "Changes", getting into a more techno-oriented frame of mind without losing that warmth and playful sensibility he has made his own over the years.

After strong remixes from Trus'me, Steve O'Sullivan and Cab Drivers on previous releases, Constant Sound 003 gives another opportunity for the label to call upon the finest in the business to reinterpret the original material.

In keeping with the heads-down workout tones of Burnski's original, it makes perfect sense to invite an artist as accomplished as Deadbeat up for a remix. Scott Monteith has long been a stellar example of how to push dub techno in thrilling new directions and it shows on his version of "Changes".

Kris Wadsworth has just as much to say for himself after years spent crafting heavyweight house and techno with a mercenary instinct matched by lashings of machine soul. He reduces the original track into a stripped down techno dub perfect for late at night.

It's yet another step forwards for a label committed to delivering nothing but the highest quality house and techno for those who seek a touch more depth from their music.

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

There used to be a time when ring tones were important. You were easily recognizable as one of the few people actually owning one of these new gadgets called ›mobile phone‹ (or ›handy‹ as the Germans say). Later you could make an important distinction by choosing a ›cool‹ ring tone...

In May 2014 the Festival »Doofe Musik« (»Stupid Music - Songs for Dreaming, Sedation and Forgetting«) took place at Haus der Kulturen der Welt (HKW) in Berlin. As part of the »Anthropocene Project« the festival focussed on escapism and the special function of music when retreating from reality. Detlef Diederichsen, curator at HKW, and Holger Schulze, Head of Sound-Studies-Lab Berlin, decided to not only focus on music which music lovers usually hate, e.g. ›Schlager‹, German folk music, Light Jazz, but also on ring tones.

The audio logo of Deutsche Telekom has been part of Germany's mobile phone culture from the very beginning so it acted as a starting point to question the usual concepts for ring tones. Using Christian Kellersmann's idea of the »Pocket Symphony« ten artists were invited to come up with adaptations of Telekom's audio logo. The results were performed for the first time during »Stupid Music« and once again in October of the same year when most of the recordings you can find on the album were made.

As you will hear: The short motif, as simple and unforgettable as it is, is ideal musical material.Everyone knows it, everyone has some sort of connection to it and these ten different versions, these ten different positions, open up the most varied possibilities for associations.

It is time that we take the ring tone seriously again. As the most reduced musical form that is the most-widely available in the whole world it contains enormous and unrealised potential!

Clip! steps up to the plate as FINA White continues to set out its stall as a go-to label for top quality techno.

Second up on FINA White is a four tracker from rising Barcelona producer, Clip! Since being cherry picked by RBMA back in 2011 Clip! has quickly established a name for himself in and amongst the city's growing pool of electronic artists and further beyond. Diverse releases on on Discomaths, Classicworks, Sweat Taste and JD Records, coupled with his signature 'hardware only' live shows, showcase his sound shifting style and impressive knowledge of sound design - unsurprising perhaps given his classical and jazz music roots.

Clip! is a chameleon of sorts and for FINA White, he puts on his thick skin and offers up a package of pure and unadulterated peak time cuts.

The title track is an absolute sonic stonker. Its menacing bass line, low end throb and sharp edged hats roll and slice with a galvanized intent whist the old Chicago house sample and gradual layering of pumped up beats and sustained synths give it an unmistakable groove with attitude.

Meanwhile, long drawn out synth tones, distorted vocals and broken beats make up the stirring intro of 'R36'. The calm is short lived of course as the steady beat gives way into the track's defining hard-hitting bassline; one that is enveloped and then let loose again by a carefully crafted fusion of atmospheric sounds.

On the flip side, 'Forward' is, well... forward; a no messing, relentlessly percussive banger. And wrapping up the EP is 'Dissonance's Technique' an equally straight-up, rough n ready belter which once again showcases Clip!'s skills in the studio. Watch his space.

'Brotherhood EP' is out on FINA White.

Composer, improviser, and Buchla Music Easel master Charles Cohen returns to Morphine with a suite of new material.
In keeping with the timbre spectrum of his semi-modular system, Brother I Prove You Wrong is built around pointillist analog tones—Cohen's cosmic "beeps and boops"—that swarm and scatter in mesmeric patterns across four sides. Moving through surrealistic textural overlays and industrial miasma, the album's nine tracks reveal a more introspective and personal side of the artist, following from a retrospective LP trilogy released via Morphine in 2013. Those assembled works, dating back to the late '70s, quickly became essential listening and brought Cohen—at the time largely unknown outside Philadelphia's experimental circuit—to critical renown.

Brother I Prove You Wrong was recorded in Berlin in September 2014 using the Buchla Music Easel, with production help and support from Rabih Beaini. Mastered by Neel and curated and designed by Tank Boys; cover art by Nathalie du Pasquier.

Butane's Alphahouse imprint kicks off 2015 with Pablo Inzunza's 'Convenience' EP, featuring three original cuts from the Chilean artist and a remix from the label-founder himself.

Pablo Inzunza is a Chilean DJ and producer most notably known for his recent long player on Butane & Someone Else's Little Helpers imprint, but also acknowledged for material on Germany's Highgrade, and French imprint Monique Musique. Inzunza has explored an array of organic and abstract Techno styles across the early stages of his career and here we see him push on with more powerful dance floor focused cuts via the Alphahouse imprint.

The original mix of title cut 'Convenience' opens things up here and sees Inzunza employ a hypnotic 303 hook as the driving force, while ghostly synth textures flutter away in the depths of the composition and sparse rhythms further fuel its undulating groove. 'Hypnotica' follows and as the name would suggest lays its focus on an entrancing, percussion and pad-led groove, which subtly unfolds over its five and a half minute duration.

Opening up the flip side of the release label-head Butane offers up a tougher, heads down take on 'Convenience', treating us to his typically rough and ready production style with gritty drum lines laid over the original's squelchy 303 lick. Then finally to round things off we have the third and final original from Pablo entitled 'Intimate', which takes on a more house tinged aesthetic this time with organic percussion, sweeping synth stabs and stuttering bass tones.

The latest chapter in the unfolding story of Chronicle finds the New York techno label reaching out to Japan once again, calling upon the considerable talents of Hironori Takahashi to deliver a nerve -shredding manifest on cinematic scope and malicious intent in the darker corners of contemporary techno. Takahashi has previously shared his vision for malevolent dancefloor crushers on such highly regarded labels as Semantica and Stroboscopic Artefacts, not to mention holding down a job at the world-renowned Disk Union record shop in Tokyo.

Proceedings start somewhat inviting on EVENT0009, as the warm, dub-inflected chords of 'Ariast' drift through the stout rhythmic throwdown with orchestral grace. There is of course plenty of space left for brooding, uncertain elements underneath this melodic calm, but it's still a positively mellow offering compared to the jackhammer drum damage of 'Dazre' with its monstrous industrial intent and soaring sound design.

'Cecilleatis' is a more patient beast that simmers its tough ingredients into a predatory whole, using atmospheric pressure instead of sheer volume to create the required intensity. It's not all steel furnace fury though, as the track comes equipped with an epilogue that cools the fires of the EP with some glacial tones and distant machine bleeps that continue Chronicle's commitment to showcasing different sides of their chosen artists.

Audiojack's Gruuv label returns this October with a four-track package from French producer Okain, featuring a remix from Tuccillo. Parisian artist Samuel Thalman aka Okain has quite the standing in contemporary electronic music having been a prominent name as a DJ and producer for the past fifteen years. Playing at some of the leading nightclubs across the globe such as Fabric, Watergate, Space Ibiza, Rex Club and Electric Pickle to name but a few. Thalman's also built quite the respectable back-catalogue in his time, releasing material via the likes of Tsuba, BPitch, Memento and Cadenza, and here we see him add Gruuv to his affiliations.

Kicking off the release is 'Down the Block', seeing Okain offer up a rugged percussion and bass led house cut, fuelled by swinging rhythms, rumbling sub tones, sporadic sax licks and processed vocal lines, opening up the EP on an energetic tip.

'RZ One' follows this, retaining a similar aesthetic with an insistent drive and penetrative low-end, though Okain opts for a grittier production feel here, distorting the drum sounds, instilling expansive, atmospheric reverb tails and drawn out delays alongside hip-hop imbued vocal lines.

On the latter half of the release we have two versions of 'By Your Side', the first of which is the original mix from Okain, which takes on a more stripped-back approach in comparison to the preceding composition's, laying its focus on fluttering synth sounds, a stab-led bass hook and warm motown style vocal chops. 2020Vision artist Tuccillo then rounds off the package with his mix of 'By Your Side', turning in his signature percussive-led style on the mix with intricately programmed drums and a subtle underlying tension that softly bubbles away in the depths over the cuts seven minute duration.

In the wake of Blocks & Escher's recent outings on Metalheadz, Critical, and Zomby's Cult Music, Narratives present the first solo
excursions on the label from one of its founders, Blocks. Varied, emotive and beautiful, the Séance EP is innately Narratives Music in sound and yet unlike anything the label has delivered previously. The Séance EP fleets between ethereal vocals, forlorn strings and analogue bursts of glassy synths, while drum machines dance with live kits that would be fitting of 90s Mowax records. Bass lines loom heavy throughout, simple and driving rhythms that bed the delicate keys and story telling harmonics above. As immersive as it is succinct, Blocks has created an extended player awash with feeling and juxtaposition; again displaying why Narratives Music has been lauded across electronic music from the likes of Goldie and
Com Truise to Zomby and Rob da Bank. Forming the veritable gem of the collection, is the vocal laden 'Haven', a collaborative piece between Blocks and the hugely talented Jennifer Hall. Live instrumentation of bowed strings and bass provide canvas for the heart wrenching tones of Hall. Doc Scott describes the track as 'Deep, deep blues'. More akin to a personal reflection of the artist than the frenetic speed of a club, more Twin Peaks meets Portishead than dance floor energy; this is music at a Drum & Bass tempo by a producer that doesn't want to be caught in a debate on style or subgenre. In essence it seems to emphasise a recent quote by Blocks, 'Drum and Bass is anything you can get away with'. Label support from Goldie, Kuedo, Doc Scott, Rockwell, Benji B, Paul Woolford, Zomby, Friction, ASC, Jubei, Teebee, Pedestrian,
Rob Da Bank, Midland, Kasra.

From the ruins of the birthplace of techno ...
Detroit Underground returns with this, their twenty second release, in a catalogue that has come to define the outer limits of experimental electronics while still adhering to dance floor basics.
This edition sees DU label boss Kero return to the spotlight in collaboration with LA based sound designer and interactive director Drasko Vucevic, aka Drasko V of Los Angeles based DRASTIC Music + Technology. Drasko has recently created, among other things, sound design for a promotional featurette for the Academy Award nominated film Gravity.
Given the label's long time fascination with the intersections of music, art and technology the collaboration is as fitting as it is fruitful.


Side A ups the collaborative ante as this 12'' comes blasting out of the gate with two very strong remixes, Exponent is the subject of a relentless 4/4 treatment from LA techno exponents Drumcell while Superheavy gets an acid-style work out from Canadian producer Jesse Somfay's Borealis project.


It is not until the second side that we hear the original versions of Exponent and Superheavy, both of which reveal themselves to be undulating masses of hip hop tinged beats over dark, bass rich undertones, with the latter offering some brighter tones as well - in other words pretty much what you might expect out of a Drasko V and Kero collaboration.


Side B is further rounded out with a couple of remixes from England's Si Begg and Valance Drakes the former coming in with a super compressed, squelched out, electro inspired take on Exponent while Valance Drakes chills us back out with an impossibly mellowed out version of the same

Informa Records 7th instalment 'Depth Surroundings EP' exhibits four original works from Deepbass (Informa Records, Dynamic Reflection) & nAX_Acid (Aconito Records, Phorma) Both artists have provided stripped back hypnotic productions immersed in deep tones and intense evolving atmospheres.
INFORMA007 stays true to the label's distinctive sound while it delves even deeper into
the depths of the abyss.

It's always a treat here at Circus Company to be able to shed the light on a lesser known talent. After all, it's a philosophy we have built the label on, but there's no denying we need to have that personal connection with the artists whose music we release. In the case of San Francisco act Moniker, our own dear Dave Aju has a previous history with Kenneth Scott from the duo, having lent some vocals to his 2009 jam 'What Do I Do' So it is that we come to release this, the first fully fledged vinyl offering from Scott and his studio partner Emilio Orlandi after years spent treating Californian crowds to their live, hardware-driven sound. The machines definitely rule the roost in the world of Moniker, but unlike so much of the current obsession with analogue noise and the lo-fi aesthetic, Scott and Orlandi instead coax heartfelt emotion and hand-crafted grooves from an array of beat boxes and synthesisers without making any self-conscious moves to demonstrate how .undigita' they are. Instead, the music takes priority, coming forth in soothing waves of harmonious chords, captivating leads and understated drums that speak volumes for simplicity and soul within deep house. The live aspect of Moniker's mission undoubtedly shines through, manifesting itself in smart switch-ups and breakdowns, impulsive edits and subtle variations that can only result from an on-the-fly jam. Mainly though, this is an exercise in satisfaction, speaking to the same pleasure neurons that would have been tickled the first time you heard Metro Area. In keeping with the warm tones of the original material, Patrice Scott makes for a thoroughly welcome addition to the fold.

*Presenting a new collaboration featuring Oren Ambarchi on guitar, the electronics of Robin Fox, and both performing on various other instruments. The music on this album came about as the result of the two being asked to co-compose the soundtrack for a new production by renowned Australian contemporary dance company Chunky Move for their Connected production.
" Chunky Move's artistic director Gideon Obarzanek was drawn to the organic and deeply musical qualities of Ambarchi's work and the digital, almost scientic quality of Fox's sound. Over a process of many weeks these two aesthetics were merged. Working both in the Chunky Move studio and Head-gap studio in Melbourne, new works were forged from both digital and analog sources. 
" This release brings together two of the most extraordinary artist/musicians working in Australia today. Both are renowned internationally for their individual practices, and here they join forces to produce powerful music that fuses Ambarchi's legendary guitar sound with Fox's mathematically rigorous tones and textures. This fusion results in sound works that stretch in scope from the sublime and spacious to the intensely dense and foreboding. Treading a precarious line between music and abstract sound, between organic and inorganic tones, this collaboration is a must listen for anyone interested in contemporary soundworks.

Taken from their forthcoming debut album, the spellbinding "Alive In Us", Darkness Falls announces their next single, the melancholic and mysterious "The Void". Featuring the heartwarming tones of lead singer Josephine Philip, who co-writes with band partner Ina Lindgreen, the whole album was produced by leading Danish composer and recording artist Anders Trentemøller.