quête:b base

The notorious London White vinyl only project is back. This time round tracks selected by Gareth Wild. This cut through VA sees excellent additions to the series via standout material from Gareth Wild, SP-X, Kessell and exciting London based newcomer End Train. Tried and tested, dance floor killers >

Being played and supported by the likes of: Marcel Dettmann, Jonas Kopp, Kwartz, Dax J, Rodhad, Etapp Kyle, DJ Pete, Aiken, Rem Co, and Peter Van Hoesen.

Dutch-Italian composer, musician and producer Aimee Portioli alias Grand River is back on Spazio Disponibile. After a debut record on the label in 2017, she now serves up her first ever physical long player, Pineapple. The record draws on Portioli's love of electronic music and sound design, as well as her background in traditional composition and formal training on a range of musical instruments.

An experienced sound engineer and composer for national radio, she crafts absorbing film scores, experimental and ambient projects and takes in symphonic calculations that blur the lines between traditional composition and research-based modernism. All that is evident on Pineapple, which is named after the most peculiar of fruits and is just as peculiar, but ultimately satisfying, across ten remarkable yet rewarding tracks.

They are often long pieces which take in wallowing electronic landscapes, with real ambient beauty next to a subtle sense of narrative that is absorbing throughout. Unusual sound sources and a masterful sense of suspense characterize the album and make it as fascinating as it is enjoyable. (*Audio snippets will be released in September*)

'Pillar' is the second release to come from London based duo, Abstract Man, uniting three original tracks plus one remix from pioneering French producer, Von Grall. Signifying the second stage of the pair's studio time, 'Pillar' delves further into a shared
love for rhythmic, textured techno and dynamic grooves.

"The world exists as you perceive it." - Rumi

For over 18 years, Spectral Sound, the dance music imprint of Ghostly International, has thrived at the forefront of techno and house. It has been a source of support for numerous DJs and producers during that time, from Matthew Dear and Benoit & Sergio to Avalon Emerson and Hieroglyphic Being. Now, Spectral brings the past alongside the present with its latest release, a compilation that offers a vibrant cross-section of the current moment in underground dance music. Despite the wide-ranging selections on Spectral 139, a throughline of classic style and infectious energy emerges from the up-and-coming and established artists alike. Rising talents such as Minimal Violence, Russell E.L. Butler, and Earth Trax x Newborn Jr. bring unique perspectives to their hardware-centric productions. Veteran producers bring their own edge as well: D'Marc Cantu blows the roof off with the outsized funk of "Regularly People," and Nigil Caenaan's "January's End," a low-key Detroit classic from the late '90s, closes Spectral 139 with a whirlwind of manic rhythms and sedate synths. Gunnar Haslam opens the tracklist with his acidic mindbender, "Versione Antica." And Ghostly regulars like Tadd Mullinix, who drops a lush JTC remix of his new X-Altera alias, and Matrixxman, who collaborates with Riccardo Limiti on the cavernous "Inferno," tie everything back to the label's roots. The double-12" compilation, as well as each individual single, features original work by Los Angeles-based artist Nina Hartmann. Her designs have appeared on releases from labels such as Ascetic House and Big Love, and the pieces for Spectral 139 continue to develop her cryptic aesthetic. The marriage of Hartmann's striking, high-contrast symbols with such bold dance music speaks to a collection that aims to stand out.

Having previously featured on Comb and Razor's popular compilation 'Brand New Wayo', Caribou's 'The Longest Mixtape: 1000 Songs For You' (twice) and remixed by numerous DJs including Kornél Kovács. It has long been over due that Nigerian synth-funk legend Dizzy K gets the reissue he deserves, teaming up with London based record label Sticky Buttons for a very special double LP compilation.

Dizzy K Falola is one of Nigeria's most adored disco funk artists form the early 80's. His career was propelled by EMI Nigeria who brought him to notoriety with his first album 'Excuse Me Baby', released in 1982. Excuse Me Baby became an instant success in Nigeria and within 3 months he was back in the studio recording his second album and touring with international superstars such as The Whispers. The success of his work came both from the creative collaboration of musicians and their progressive style of synth-funk and disco influenced heavily by western artists. The team included Nkono Teles, Felix Liberty and Dizzy K's mentor and manager Tony Okoroji amongst others who together formed the disco funk that infected the homes, streets and clubs of Lagos. Noted in 'Hip Hop Africa: New African Music in a Globalizing World', Dizzy K's song titled Saturday Night Raps which features on Excuse Me Baby is thought to have been on of the earliest examples of commercial African Rap music. It was examples like this that showed Dizzy K was bringing something new to the Nigerian boogie scene.

With careful restoration by Colin Young at See Why Audio, (who's expertise and talents have graced some of the most iconic reissues of recent years, including "Who Is William Onyeabor" and Charanjit Singh's "Synthesizing: Ten Raga's to a Disco Beat") and vinyl mastering conducted by The Carvery, cutting the masters on a Neumann VMS70 mastering lathe originally used in Nashville's CBS studio to cut Motown classics. This is an uncompromising vinyl package covering Dizzy K's first 3 albums from '82-'84. Compiled for the dance floor and offering Sticky Buttons take on the bright boogie goodness of Dizzy. With personal liner notes from the artist and fresh artwork by the team this is a record that cuts to the point.

KLOREX 55 has moved his base to Hawaiian latitudes where he hangs out with the king himself. They have been seen in a brand new Cadillac each other day crusin' around. These songs where made in-between filling up gasoline. Pure electro car love songs.

On her debut EP, Brussels-based multi-instrumentalist Esinam gives us an entrancing insight into her eclectic world of jazztronica.

Released 21st September via Sdban Ultra, her self-titled EP carries influences from different worlds geographically, culturally and musically. Blending traditional and modern instruments with her soulful voice, the acoustic sounds of the instruments are allowed to evolve and take on new dimensions, opening up a kaleidoscopic spectrum of sound and colour.

Esinam Dogbatse is part of a new generation of musicians bringing forth a cultural blend of music. Having opened for the likes of Nakhane and Témé Tan at Les Nuits earlier this year, Belgian rapper Baloji invited her to guest on his latest critically acclaimed album '137 Avenue Kaniama'. She has also supported Alsarah & The Nubatones, Selah Sue and Melanie De Biasio on her sold-out shows at Ancienne Belgique.

For the recording of the EP, Esinam joined forces with Jules Fradet from Studio Planet (Damso, Afrikan Prötökol). Producing and playing most of the instruments herself, the EP was mastered by LA-based producer Kelly Hibbert aka Almachrome (J Dilla, Madlib, Little Dragon, Flying Lotus, Ebo Taylor, Mark de Clive-Lowe and Arca).

Lead track 'Birds Fly Under a Heavy Sky' is a mesmerising opener that smoulders effortlessly against a backdrop of subtle beats and sensual rhythms, with Esinam's soft vocals and hypnotic flute providing the groove.

On 'Do Not Go Into That Black Night', she is dark and direct. It's a magnetic take on jazz noire that doesn't distract from the sultry inflections of her voice, while 'Gavoé' recalls the spirit of her Ghanaian roots in a ballet of instruments that display a level of personal freedom and sensitivity. Through merging different genres of music, we are warmly welcomed into Esinam's musical universe.

Esinam teamed up with Senegalese DJ and producer Ibaaku on the highly charged 'Electric Lady', who provided some distinctive musical hues. A track drenched in afro-futurist colours, sonic samples and collages freely mix with electric and raw sounds, supporting the energetic playing of the flute. The structure of the song remains true to Esinam's signature sounds: surprising ruptures, poetic atmospheres and constant affirmation of groove.

When Esinam performs live, she juggles traditional instruments such as the tama, kalimba and pandeiro, which she loops and blends with the sound of her flute and voice. It sometimes triggers dance, sometimes contemplation

Solar Phenomena continues a high quality and high rate of releases after EP's from the likes of STL and Fluxion with a new one from Mystica Tribe - the musical alias of Tokyo-based producer, Taka Noda. Here he draws on everything from dub, soul, bass music, rhythm and blues and will always freak you out with his unusual sounds.

This excellently absorbing EP starts with Love Is All Right, a fusion of Asian percussion and reggae drums that is high tempo and funky. The bright steelpan sounds offset the razor sharp percussion and make for a sunny dub that will get any crowd going. The same fusion vibes continues but in more blissed out and slow motion fashion on 'Lawn Track', the beautiful cosmic psyche-out that is 'Ash' and supple space journey that is 'Voyage' with its intoxicating melodies and loose, tumbling percussion. This is unusual but essential music from an exclusive talent.

Point of View is a new parallel project by Cognitiva Records.
It is a limited series of 150 hand-signed "7inch" copies.
Each release will compare two artists, different points of view with the same pattern. side A Beraber - Shades Play
Beraber is an Amsterdam based producer and dj that made his debut with this moniker on La Freund Recordings. He has a bi-monthly show on Red Light Radio.
This time he has delivered a special groovy production with deeply roots in 90s italian house. A rich and full sound with few elements; it's his goal. 'Shades Play' is mainly Juno-6, Korg M1 and TR-707.

* Sheffield-based Subaltern resident Taiko returns to the imprint with a stunning selection of four distinctively grimy pieces of sub-bass science, proving once again his original take on the 140 bass realm.

A. Trenches
Introducing his unique style once again with a fresh twist, Taiko delivers relentless earth-shattering bass waves in 'Trenches', which graces the A side of the release. Bells, strings and dark synths set the mood for a precisely executed wall of bass, complimented by subtle vocal work.

B1. Raid
Dramatic orchestral strings and horns set the stage for the grim reaper that is 'Raid' - leading into a dark and roaring synth that accentuates the laid back bass-line. Sure to shake every system it is unleashed on, the track keeps evolving and luring the listener ever deeper into a maze of darkness. You can run but you can't hide...

B2. Mana Pool
'Mana Pool' adds a more psychedelic and subtle edge to the release. Synth loaded parts play in exchange with carefully laid out harmonic synth lines complementing the tasteful bass-lines, while remaining the raw edge of the release.

Redinho returns with two heavyweight singles 'Square 1 ft. Kimbra' and 'Mmm Mmm ft. Vula'. After a solo album on Numbers, working as Hudson Mohawke's musical director on the Lantern tour, and producing for the transatlantic rap group Swet Shop Boys with Riz Ahmed and Heems, Redinho is now focusing back on his solo output and these new singles feature his signature sugar-rush r&b meets pop and electronic sound.
'Mmm Mmm' was originally released digitally earlier this year, crowned 'World's Hottest Record' by Annie Mac and features Vula of Basement Jaxx Fame. 'Square 1' is the AA side single that features a Timbaland-esque beat with hypnotising sultry vocals from Grammy Award winning artist Kimbra known for her feature on the Gotye single 'Somebody That I Used To Know'.

Really Great Production!

Boredom, anxiety, pain killers and frustration make a heady mix for both reflection and action. For three weeks I stared out of the window of the tower block onto the tall brick towers of the old asylum chimneys. The past was a strange land suddenly out of reach, the present confusing and claustrophobic, the future something I could only visualise and idolise.

From the balmy Autumn day of my release a light was switched on, buzzing urgently like a neon street light on my path. Life took on new vigour and meaning. Pleasures starkly illuminated, annoyances inconsequential. Old work was re-examined and appreciated. Machines were treasured and connected. My basement filled with ever greater warmth and excitement.

The toy towns of our inner minds are constructed of a million tiny building blocks of experience. But there's a freedom that comes from realising what might have been. Peace in reflection, untethered from the everyday distraction and I take pleasure in the hum drum. Unhampered by trends, untethered to a scene, stripped back to essential carnal influences and desires. Who are we but the sum of our experience.

'Everything Is Quite Now' meanders through a reimagined landscape of personal history, releasing musical fragments to dri* amongst soaring treetops, hollowed lakes and labyrinthine concrete structures, liberated from genre and form - alive at last. In these great expanses, light and dark are presented not as polar opposites, but as a limitless, unified whole.

References to EBM and industrial techno manifest within the sporadic percussive framework whilst gauzy ambient backdrops form an entire world of their own, constructed from the gentle hiss of a looping tape, the booming caverns of a muffled kick, the vivid distortions of a crystalline synth. In the depths of a misty forest, warmth permeates, absorbing inside it all of the darkness, pain, romance and beauty from before.

Prequel Tapes is a work of deep synthesis. Fragments of melody and memory orchestrated into densely layered tapestries; a deeply emotional study on a life characterised by a shi*ing relationship to electronics. The pieces serve as a chronology of desire and reflection, reconciling a nascent passion for industrial music with a history in the club. Oscillating between utopian to claustrophobic, the evolving synth work, deep techno atmosphere and traces of clangorous energy of early European ambient and industrial tell a distinctly German tale, forged between the forest and the autobahn.

Everything is quite now. What else can it be.

Often inspired by the cosmology, sonology, and culture of indigenous people from Borneo, Nursalim Yadi Anugerah is a Pontianak based composer well-known for his peculiar approach on instrumentation and composition. Adapted from Kayaan people oral literature Takna' Lawe', HNNUNG is a chamber opera that amplifies the cosmic dramaturgy of Kayaan culture—in which the narrative of matriarchy is essential. HNNUNG the opera was performed by Balaan Tumaan Ensemble and Kerubim Choir using various instruments ranging from kaldii' and sape' to tenor saxophone and contrabass. For this edition, he selects nine recording pieces from his opera HNNUNG in the form of sonic-fiction—he lets his composition works as a narrator.

Cat.no.: XVIII-IV
Format: MC

Standards & Practices is proud to present the inaugural release on its new sister imprint, Double Standards, from NYC-based producer Jake Reif (Device Control). His third release working under this alias, Reif manages to amalgamate his dance music obsessions (EBM, bleep techno, Chicago house) in a totally unique way that feels fresh and idiosyncratic, avoiding simple genre exercises or nostalgia for the sake of it.

Lead track 'Spirit Module' is perhaps the finest summation of Reif's aesthetic yet: a mixture of bleepy, raw techno that, with its wild vocal samples and wide, 808-driven groove, comes across like a tougher, more modern take on the classic Sheffield/Richard H. Kirk/Robert Gordon sound. Label partner Ken Meier's first outing here as a remixer is a smashing success his version strips things down, keeping most elements of the original intact, but adds a driving, almost double-time metronomic machine rhythm that's aimed squarely at the dancefloor. On the flip, 'Tension' and 'Symmetry Obsession' row the boat further out, with their synapse-frying tones and jagged, randomized sequences reminiscent of Freddy Fresh at his best. All in all, a future classic destined to find favor with adventurous house and techno DJs alike.

Donor, the Brooklyn-based artist, known for his releases on Stroboscopic Artefacts, Semantica and Prosthetic Pressings, steps up on Sublunar with a brand new EP. The record consists of three original cuts plus a remix from the key figure in the legendary 'No Way Back' parties and 'The Bunker NY' resident Patrick Russell.

'Identity Revealed' is the first track of the EP, a half-stepping creature clanking and booming like steelworks surrounded by a claustrophobic noise that increases in intensity during its development.

Patrick Russell, with his interpretation of 'Identity Revealed', raises the temperature level pushing even further the noisy elements of the track and its thick atmosphere while the bassline takes an unpredictable route becoming something sparse and syncopated.

On the B-side 'Lesser Forms' merges booming kick drums with finely sculpted industrial drones, everything is perfectly lined up until the last microscopic sonic detail.

'Forgotten' closes the EP, a tortuous path carved into glitches and twists where every broken beat hits with brute force and moves onward with a curious poly-rhythmic gait.

Into the Light is launching a parallel and limited series with contemporary material from both Greek and international artists. First stop is the album 'Postclub Prism' by the German producer Cass. offering ten gorgeous ambient pieces about light and romance.
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Since 2012, Niklas Rehme-Schlüter aka Cass. has released albums of varying styles, from the rather organic and loop based ambient pieces on 'Loops & Farewell Sketches' and the 'Red Atlantic' EP on Throne of Blood in 2017, influenced by 80's pop sonics, to the more balearic and percussive recordings on 'The Sound of Glades' together with Wolf Müller in 2016. On his new record 'Postclub Prism' Cass. explores his affinity to calm and atmospheric ambient music at the threshold to the reverberant sound of club music.

Daniel Terndrup Is A Los Angeles-based Dj And Producer. A Longtime Record Collector And
Digger, Daniel Has Become A Local Authority On Bygone Music. He Hosts Regular Radio Shows
On Dublab (crosseyed & Painless) And Nts (heat-wave) While Also Throwing A Weekly Party
For Heat-wave In Collaboration With Wyatt Potts At Former Hollywood Stripclub, Gold
Diggers. Daniel Started Making Music A Decade Ago As One Half Of Cosmic Kids. Alongside
Ron Poznansky, He Made A Name For Himself Producing Heady House And Astral Dance Tunes,
And Releasing Records With Cult Labels Throne Of Blood, Let's Play House And Dfa. In Addition
To Racking Up Plays On Original Cuts, The Duo Was Regularly Tapped To Deliver Remixes For
Heavyweights Like The Rapture, Holy Ghost!, Poolside And Superhumanoids.
After A Handful Of Releases With Cosmic Kids, Daniel Pivoted Toward His Own Project As Daniel
T. His Solo Output Is Inspired By Everything That You Might Find Leafing Through His Record
Collection: Funk, Post Punk, New Age And Pop Of Yesteryear (think: Compass Point All Stars To
Yellow Magic Orchestra). The Music He Releases As Daniel T. Is A Reflection Of His Global Taste,
But Indelibly Filtered Through His Southern California Surroundings

Blurb Attached
Following His 2015 Solo Debut Tetrachromat, Released On Friends Of Friends Sister Label
Young Adults, Daniel T. Returns With A New Album Called Heliotrope, Out This Summer On
Cascine. In Contrast To The Steady Dance-oriented Tempos Of Tetrachromat, Heliotrope
Moves Across More Dynamic Landscapes, All United Under Daniel's Sun-soaked Sensibility.
From The Breezy Bounce Of call,' To The Lithe Cover Of Tatsuro Yamashita's Classic windy
Lady,' He Effortlessly Wades Into Pop Territory. Elsewhere, On The Neon Glow Of moonlight
Bounce' (inspired By Dan's Near-religious Love Of Roller-skating) And The Ebullient First Single
'heat-wave', His Trademark Mid-tempo Swing Shines As Bright As His Synths. Heliotrope Is A
Reflection Of His Global Taste, But Indelibly Filtered Through His Southern California
Surroundings

Following Induction's Liturgical Hymns Remixes EP, Ravage is proud to announce the next release on their White Series. It's a various artists release, containing tracks produced by artists who are very close to the label. Hence, it's title: Familiar Affairs.

A1. sees the return of Forward Strategy Group, with their track Pet a Burning Dog. It's hard not to think 'Sandwell District' when first laying ear on this minimalistic beauty. Bleeps, screeches and haunting synth-work with some outstanding rhythm laying underneath. Following on A2 we have Unbalance picking up the pace with his track Hard Solutions; a track very true to its name. Atmospheric, yet with a healthy dose of punch.

Kicking off his favourite position on the record, on B1 we've got Dutch techno legend Dimi Angélis. He produced a self-proclaimed 'Acid Bomb' which goes by the name of Tarazed. We dare you not to dance when this one hits the floor. Closing off the EP is Liverpool based artist Binny, who produced the wobbly-banger Relax. Proper techno from a man of whom you'd expect this kind of sound.

Flexuous, Synchronous , Capricious

Bit-Tuner's "Arabian Nights" is based on field recordings, tapes, radio snippets and sounds recorded and produced in Cairo. The gleaming heat of Egypt was processed into a grinding 40-minute live set, contrasting the layered atmospheres with Bit-Tuner's signature staccato beats.

Swirling sounds fall into place as the recording evolves. As blasts of wind carry away the dust, sights of a dense and vibrant metropolis are set free. After his previous works "The Japan Syndrome" and "The China Syndrome", Bit-Tuner's new recording "Arabian Nights" takes an edgy approach: Bit-Tuner extracts grainy physicalness from his sounds and brews them in his high-energy arrangements. It is this directness, that marks Bit-Tuner's distinctive qualities as a live act. He manages to tell stories through waves of sonic pressure.

A live performance by Bit-Tuner based on field recordings & tapes from Cairo.
Recorded live at Helsinki Klub, Zurich.

Berlin-based producer SDX drops an album entitled 'Nocturnal' on Sophia Saze's Dusk & Haze featuring remixes from TXTRL founders 138 and Shipwrec producer SC-164.



Georgia-born, Brooklyn-based Sophia Saze set up Dusk & Haze to release 'genre-free' experimental music, exhibited in the label's debut release entitled 'Solace' EP featuring four versatile cuts from Sophia herself and twisted electro and techno remixes from Umwelt and Benjamin Damage. The second release comes
from the enigmatic SDX, a masked artist who's fiercely championed left-of-centre dance music for decades. Crunchy drums and a thumping bassline kick things off in 'MS 04' before Los Angeles duo 138 provide an outstanding remix incorporating a cacophony of raw breaks. Modulated flutters, warped blips and white
noise create 'MS 08', leading into the organic drums and off-kilter arpeggios of '007' until New York's SC- 164 reworks '007' delivering a pulsating sub and distorted vocal chops.

Freshly based in London, Cabasa mixes up his own UK influences with what his dad has been listening to at home since he's a kid (electronica, jungle, acid-house...). What comes up is a subtle fusion between ambient soundscapes and percussive sounds, from 90 to 180 BPM. He seeks for boundaries between beatless and rhythmic compositions.

The man, the myth, the legend ... back in the 80s Jesse Rae, along with Roger Troutman and Bernie Worrell, was part of the P-Funk movement that was hugely influential to Detroit's early electronic experiments. Lesser known is that the enigmatic Scot-funk warrior later produced underground electronic tracks in the 90s. The inaugural release on Glasgow label Southside Shufflers presents two of Jesse's Shufflers on vinyl for the first time on the Global 95 EP- a sampler from his pioneering 1995 album 'Compression'. Ever the innovator, Jesse recorded the album collaboratively using live ISDN technology spanning three continents, with the resultant tracks fusing African, US electro-funk and old Scots influences. 23 years later, Jesse's under the radar Shufflers sound more relevant than ever.
Southside Shufflers are a record label and sports collective based in Glasgow with outposts in London and Amsterdam. SSS- ain't no half steppin'!

Fresh from starting his own label Insult To Injury, Timothy Clerkin returns to Ransom Note Records with the 'Knife Edge Heart' EP. Three tracks of stirring techno for dark basements and warm hearts. Timothy is a very interesting man, but he's also the sort of person who'd rather let his music do the talking, so we'll move on swiftly. The MVP here is 'Knife Edge Heart', an unabashed pop song whose shimmering exterior is cut through with flashes of steely darkness. Frequent collaborator Natalie Reiss' glacial voice is held at the perfect level of remove, while Timothy allows his love of shoegaze to blossom with a guitar line that seems to extend like a ladder to the stars.'With You' bridges Timothy's opposing impulses, balancing sparkling synths and a celestial vocal sample with churning low-end, while 'Divisive' is paranoid warehouse techno at its very best. With his debut solo album out soon on Phantasy, Gabe Gurnsey of Factory Floor stops by for a lurching, seasick remix of 'Knife Edge Heart' that sounds like the onset of the robot apocalypse we've all been promised for so long. After cutting his teeth as one half of Eskimo Twins, Timothy launched his solo career in 2014 under the now-retired Heretic moniker. He's since released on labels including Throne of Blood, Hard Fist and Days of Being Wild. Timothy's last release on R$N was the 'Serenade' EP, which brought us plenty of special moments last year - most memorably Andrew Weatherall closing out his Houghton quarry set with 'Execute'. Here's to many more this summer and beyond.

Fort Romeau & Ali Tillet's Cin Cin imprint return with another impeccable release that showcases fresh and forward thinking leftfield house for discerning heads and feet.  X.O.A., the London based multi-instrumentalist also known as Nick Tyson, collaborates with the electronic duo Wayward for two tracks.  'Koto' and 'Wayo Wayo' both fuse smooth percussive afro-house elements with tougher synth lines, each track encompassing energetic rhythms and absorbing melodies and lead lines.  

On the flip, DrumTalk follow up recent releases on Huntleys & Palmers and Permanent Vacation with a pair of machine driven, techno infused cuts par excellence.   'Ariel' mixes disco bleeps, loose drums and waves of vocal pads and arpeggiated leads that ecstatically rise and fall, and on 'Red Haze' we are treated to modulated drums and an infectious bassline that welcome in a myriad of sounds without ever losing the deadly driving groove that is the track's backbone.

The Allergies are back with another corking new single - Dance Now is a super-sweet slice of sista funk that packs the sass to shake your ass. Honey Larochelle just wants to dance now and that's what she's gonna do with The Allergies providing the jams! Throw in some killer sax licks from brass man extraordinaire, Mr Woodnote, and it's almost impossible not to get down to this stylish selection of delectable grooves.

These guys are becoming well known for their sought-after double-header 45 records which have a knack of quickly becoming collector's items, and it's easy to see why when they pack out their single releases with quality cuts like 'Fade Away (feat. Andy Cooper)'.

It's another classic fast rap attack from the Long Beach-based MC of Ugly Duckling fame, as he spits rhymes over the 60's inspired samples and fat beats. So, something here for both the dancers and the hip hop heads in one neat little package.

Absence Seizure Marks Its Tenth Release This September, A Split Package Comprising One Original From Co-founder Abe Duque And Two From Label-founder Matuss.

Since Its Launch Back In 2015 The New York City Based Absence Seizure Imprint, Launched By Abe Duque And Matuss Has Been A Platform For The Latter's Original Material And Across The Past Nine Releases And Picked Up Support From The Likes Of Young Male, Sage Caswell, Dorian Paic And Eduardo De La Calle Amongst Others. Here Though We See Co-founder Abe Duque Join The Part To Mark The Labels Tenth Vinyl Release Alongside Label Regular Julia Matuss.

Matuss Steps Up With 'crashing Hard' A Murky, Stripped-back Number Fuelled By Choppy Bass Stabs, Minimal Percussive Bleeps And Airy Atmospherics . Next On The Package Is Abe Duque's '11-27-2016', A Typically Raw Affair From The New York Techno Veteran Fuelled By Squelching 303 Lines, Robust Analogue Drums And Dreamy Arpeggios.

The B Side Features Matuss' 'sisabuc Fresh' Closes Out The Package, Stripping Things Back Even Further To Minute, Shuffled Percussion, Stuttering Ethereal Chords And Permeating Sub Hits Which All Flow In Unison Across Its Ten Minute Duration.

Adel Akram presents the 'Time and Place' EP due 10th of August on his own
'When Are We Now ' imprint, a newly launched platform for music and sonic
arts. With a background in shaping landscapes and creating permacultural
environments, Adel became a multidimensional and interdisciplinary artist
creating visuals whilst exploring waveforms and rooms. As well as providing
visuals for Herrensauna and AnnaMelina's and Varg's Flora project at atonal
Festival last year, his music appears in the upcoming movie M/M by Drew
Lint.

Now, as former founder of the Bremen based label ZCKR Records, Adel contin-
ues the idea of a label as an archive to document his surrounding and the
process of examination with different media, arts and questions about our
current position in time.

The first release excerpts entries from his personal audio log, recorded
during the last two years and reveals his keen but dreamy and vibrant access
to sound.

Texas-based electronic music producer Phillip Washington aka Cygnus was on bit of a hiatus since his phenomenal "Cosmos" long play on Fundamental Records, released near the end of 2016. With this EP, titled "ne0 ge0", he's breaking the silence and we're extremely happy to see it happening through Barba imprint. The record consists of 4 cuts; "Zone Shifting", "Vertexing", "ne0-ge0" and "Astronoot" which all share common qualities of his previous work - deep, spacey, richly textured and really well crafted. "Zone Shifting" is what electro in 2018 should sound like. Deep, emotional and futuristic but well grounded in the human condition through the vocal line which seems to haunt from the distance. "Vertexing" is a slightly more paced, moodier affair with slow enveloping Vangelis-esque synth lines bleeding all over traditional electro sounding beat. However, in this case that's exactly what's needed. Title track, "ne0-ge0" is the first one on the flip side and the busiest one. Creasing of multiple synth lines and pads is done in such an expertly elegant manner that you just can't resist but play it loud on a big soundsystem and see what it does to the dancefloor. And finally, record closes with "Astronoot", and as B2 tracks usually are - it's the deepest of them all, reserved for those heady moments when you need something to bring the magic to the next level.

Jujuka is a multidisciplinary art project and record label that involves rhythm composer and DJ Julia Govor and London-based Illustration duo Le.BLUE. The project is about music, short narratives, true stories, comics and illustration, where the artists behind the project want to go beyond what the conventional
record label offers.

Every piece will be unique, told through music and stories composed and written by Julia, accompanied by artwork and comics illustrated by Le.BLUE

Building on the already incredible collection of music so far released on Francis Harris' Kingdoms imprint, Emil Abramyan returns with the stunning 'Movement' album. Abramyan is a Brooklyn based composer, musician, and producer, whose work traverses various styles and disciplines. In this release Emil shares his unique perspective by bringing together his conservatory training as a cellist and his love of electronic music and sound design. Having played the cello on every Francis Harris album, Abramyan now expands his repertoire by playing every instrument, including cello, piano, and electronics. Beginning with 'Flightplan', the album lifts off in sublime fashion. Brooding cellos combine with pianos before subtle rhythms unfold and introduce themselves. 'Winter's' skittering rhythm is combined with pizzicato melodies, clicks and modular synth flurries. Showcasing his versatility, 'Foolky' is a more dance floor oriented cut - a highly percussive groove unfolds and carries along a variety of instrumentation. 4_24 also makes use of shuffling, percussive grooves layered with drone sounds, and more of Abramyan's signature cello.'Fever' sees the brooklynite heading in a more obviously ambient direction, building atmosphere with a mixture of close mic'd experimentation, and beautiful choral fragments.Rounding off this release, label boss Francis Harris reworks 'Flightplan', finding new nuances in the sublime atmosphere, and slowly building up to a subtle, understated groove that takes the track to a different place entirely.

This special limited edition DAVID BOWIE 7" picture disc, is a double A-side of the radio edits of 2018 versions of ZEROES and BEAT OF YOUR DRUM. Both tracks are from NEVER LET ME DOWN (2018), a new version of the 1987 album featured in the forthcoming boxset LOVING THE ALIEN (1983-1988) which is released on 12th October. 
 
NEVER LET ME DOWN (2018), is a new production of Bowie's final 'solo' album of the '80s. Producer Mario McNulty worked on the tracks at Electric Lady Studios in New York with longtime Bowie musicians Sterling Campbell (Black Tie White Noise, Outside, 'hours...', Heathen, Reality and The Next Day) on drums, Reeves Gabrels (Tin Machine, Black Tie White Noise, Outside, Earthling and 'hours...') & David Torn (Heathen, Reality and The Next Day) on guitars and Tim Lefebvre (Blackstar) on bass. 

ZEROES, the lyrics of which reference Prince's Little Red Corvette was Bowie's salute to the '60s. He described it as 'The ultimate happy-go-lucky rock tune, based in the nonsensical period of psychedelia'. Mario McNulty commented, "Stripping this song down to its core revealed a track that could have been right at home on Hunky Dory, I kept Peter Frampton's sitar (which was originally owned by Jimi Hendrix) as it still fits against the new guitars from Reeves Gabrels'. 

Of BEAT OF YOUR DRUM Mario McNulty says, 'David Torn's ambient guitars start the song that now lead into a much darker world than its shiny predecessor. David sang all the backing vocals on this which I have kept.'



Y

AAlmost a decade after debuting the event series, audiotheque releases its first EP, including three tracks by various local artists.
The first one, Mike's Jam, comes by Bern's new power duo Frank Spirit. It is a puristic, full analogue house jam, finalized on Mike Huckaby's personal request.
RBMA graduate cclinic joins for A2. Talk Silver is a groovy house track which stands out for its prominent baseline and the inclusion of balearic and nordic elements.
Long-time audiotheque resident DJ Robel rounds out the record. Fasiga is straight and clear, yet impulsive and fun.

Label head honchos Rhode & Brown finally debut on their own imprint, Slam City Jams, after putting out music on fellow labels Toy Tonics and Public Possession. Produced over the past two
years, the Wave 100 EP might be the most versatile record by the Munich-based fellas so far.

On the title track we have an euphoric hint of 80s synth nostalgia, slapped bass and banging woodsticks (did someone say Safri Duo!). 'Sparkle' on A2 feels like the joy of a fresh breeze on hot summer days whilst living la vida loca in the clouds - b/w phat bass, sweet flutes & strings.

On the flip there is 'Love Lane', a classic house track with a funked up bassline, shuffling snares and the most erotic vocal in human history. 'Moon Bells' on B2 is the soundtrack to that road
trip you did back in 86' with a Juno 106 arpeggiator bassline, percussive drums and airy synths all around. 'Over Europe' on B3 rounds off this special 5-tracker with beautiful ambient spheres
straight from outta space.

For the inaugural release on TILT, Faerber presents 070717, a four-track package of spiralling techno due 03.09.2018. As a joint venture from Hamburg's renowned PAL nightclub and Berlin-based DJ/producer Faerber, TILT will serve as a platform for a range of experimental artists to present their work without restraint.

070717 is a disorienting trip through four swirling cuts, brandishing references to electro, industrial and ambient whilst permeating warmth through vast concrete structures.

The title of this first release - a reference to the date of the G20 summit in Hamburg last year - represents a period of instability for both the nightclub and Faerber, who is a booker and resident DJ there. Ongoing heavy police presence outside its front doors resulted in a lack of visitors; so much so that the future of the venue became uncertain. Despite a series of obstacles linked to the highly controversial political summit, PAL continued to throw parties, eventually reaching a point of stability through sheer dedication and a focus on experimental bookings. Now, after a slight delay, they are ready to launch their own imprint.

070717 is the soundtrack to resistance against all odds.

Butterflies is a 12' EP compilation (1983-2016) by the Amsterdam based label Top Tape (founded 1986). On this release of 500 copies on yellow vinyl you find old and new work, old and young artists, like the talented Parrish Smith. There is also a great Restauration by Dunkeltier. The album has been remastered with care by Rude 66.

Brendon Moeller offers up his 'Set In Motion' EP on Echocord sub-label Echo Echo this September, comprising three originals from the Dub Techno veteran. South Africa, New York based producer and DJ Brendon Moeller aka Beat Pharmacy/Echologist has long been respected as one of the pioneering figures in ethereal, dubbed-out Techno with regular appearances at global hot spots like fabric, Berghain and Cielo as well as releases on labels like Third Ear, Kimochi, Neovinyl and Echocord. Here though we see Moeller joining the roster of the latter's sublabel Echo Echo, marking its fourth release. Title-track 'Set In Motion' leads with Brendon's signature murky synth textures at its core whilst lumpy low-end tones, shuffled hats and spiraling dub echoes fluidly undulate amongst one another throughout. 'Eastern Beach' follows, and as the name would suggest, nods towards brighter sounds with airy pads, soft bell chime synths and pulsating subs driving the composition alongside swinging, heavily reverberated percussion. 'Economy' then closes the package, stripping things back to gritty dub stabs, dusty 4/4 drums and billowing noise sweeps.

The keeping of pets marks humans' attempt at taking possession of a part of reality that is not at his disposal. Dressing a piece of the real that lives according to entirely non-human rules and which only in the saddest case does not resist the discipline of the human symbolic order vehemently and in a sustained matter, is a violent act of protection. Because in the non-place of the real, all that which we are helpless in the face of looms: the non-logical and the nameless, the violence and the noise, yet also the unrestrained and unfiltered desire.The innocuous figure of the pet marks a gateway to an investigation of these eerie milieus, while electronic dance music lends itself to this investigation in an outstanding way. This constellation marks the subject of Column's 'Pets II.'

Column is the name of Cologne based renaissance man Jan Philipp Janzen, who, as chief emissary of Cologne's pop internationalism, has been playing the field in various functions for Von Spar, Cologne Tapes, Urlaub in Polen, Owen Pallett, Scout Niblett or The Field, and who has also, in one way or another, been involved in most relevant records coming out of Cologne for the past number of years. After his excellent solo debut 'Pets I' (Areal, 2016), Janzen presents another extraordinary record in 'Pets II,' perfectly complemented by another ghostly oil work of Burkhard Mönnich on the cover.Sonically, 'Pets II' marks a clear development for Column. In its exploration of the thresholds of the real, it sets two points of focus, corresponding with the split in sides A and B.

Side A, on which Janzen teams up with long-time friend myr. (PNN), explores the uncanny as a fissure of the symbolic order, and the subsequent breaking in of the real. It opens with two peaktime rockets that have their wooden, nether-regional groove narrated by grim, down-pitched vocals. The ethereal remix by Leibniz (hundert) seems to be observing the situation from a hiding place, and is the side's clandestine and no less dark closer.

Side B, for which Janzen invited studiomate Marvin Horsch (Dorfjungs/Beats in Space) along, delivers two swaying synthesizer workouts, the second of which, 'Molly and Swerve,' is directed firmly at the dancefloor again. What is at stake here is the transition between a free, undirected jouissance of the real and a more ordered becoming-lust. Here, as in Map.ache's (Kann/Giegling/Altin Village) remix which closes out 'Pets II,' it becomes clear what connections dance music can foster between a free, impersonal desire and the sphere of interpersonal wanting, but also the losses that are negotiated in it. Above all, however, it becomes evident what a courageous daring project 'Pets II' is in all of its conceptual and aesthetic determination; with Von Spar's standout 'Garzweiler' 12' (Altin Village & Mine, 2017), it documents a New Cologne Realism.

Southern Lord Is Excited To Bring Forth The Debut Album By Los Angeles-based Rock Trio, The Primals, Founded By Current And Former Members Of Darkest Hour, The Explosion, Dead To Fall, And More.

All Love Is True Love, The Primals' Debut Album, Features Ten Infectious Tracks Produced By John Reis (rocket From The Crypt, Drive Like Jehu, Hot Snakes) And Completed With Cover Art By Laura K. Giron.

Fans Of Wand, Ty Segall, Nirvana, And The Pixies Are Especially Recommended To Tune In.

he band's first full-length, All Love Is True Love, will see release on September 7th, the label this week sharing the first single, 'Fortune & Sons.'  'Fortune & Sons' Now Streaming

About the track the band note, ''Fortune & Sons' is one of the heaviest songs on the record. Though the album offers a plentiful dose of dynamic variety, we wanted to kick you off with a ripper.'

The Primals is comprised of vocalist/guitarist John Henry (vocalist for Darkest Hour), bassist Chad Fjerstad (formerly of Dead To Fall), and drummer Andrew Black (formerly of The Explosion). The band's fuzzy execution is equal slabs ripping guitar heaviness and infectious pop sensibility. Concocted by a seasoned group of thrashers with a historical backbone in D.C. punk community. The disintegrated spirit of grunge rises from the ashes, revitalized in a new light.

Reissue of Eblen's fourth album, wonderful experimental music here. Tip!
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Mexican guitarist and ambient artist Eblen Macari's Música Para Planetarios (Music for Planetariums) was originally composed for weekly performances in the Luis Enrique Erro Planetarium in Mexico City to accompany a voyage through the galaxy. The album, released in 1987 was based around Macari's solo performances using Ensoniq ESQ-1, a Korg Poly 800, two guitars and pre-hispanic Ocarinas. The expanded arrangements recorded for the album include a full stable of pre-hispanic percussion and beautiful baroque harpsichord played by Macari's wife. This expansive interplanetary soliloquy is undoubtedly Macari's masterpiece. Remastered from the original master tapes.

June 2018, Amsterdam, Nl: 12 Months Ago We Concluded A Series Of Experiments With A Test Subject Named Ben Penn. A Year On, We Decided To Repeat This Experiment At His Tilburg Base. Once Again, The Results Were Starting.
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After Being Provided With A Sizeable Dose Of An Enhanced And Notably Stronger Derivative Of 4-ho Met (codenamed St011), Penn Not Only Reported Intense Hallucinations But Also Enhanced Music Production Capabilities. With The Aid Of Electronic Instruments And Hardware, He Worked Quickly, Producing Both His Trademark higher Level Inter-dimensional Funk' And Compositions That Defied Our Previous Expectations.

During The Early Stages Of His St011 Experience, Penn Completely Ignored The Provided Rhythm Composer And Instead Crafted A Colourful, Humid, Jazzy And Beat-free Track Entitled nix', Which Boasted Loose And Fluid Synthesizer Motifs. As His Hallucinatory Experience Intensified, Penn Giddily Tapped Out Tropical Rhythms On The Provided Beat-making Device, Smothering Them In Alien Electronics And Sticky Melodies. When We Asked What This Devilishly Good Cut Was Called, He Simply Replied: not Important'.

As The Test Went On And The Most Intense Symptoms Died Down, Penn Was Much Like His Old Self. Before The St011 Wore Off Completely, He Was Able To Finish Two Examples Of His Trademark inter-dimensional Funk': The Skewed, Introspective, Bassline-driven Wooziness Of ben' And The Mazy, Kaleidoscopic Goodness Of people'. The Latter Composition Was Particularly Potent And Ear Pleasing, Suggesting That His St011 Experience Had Finished On An Intense High.

Columbus, Ohio may not be spoken of in the same glowing terms as Detroit when it comes to '90s Techno from the Mid-West. However, the Columbus-based 21/22 Corp label was responsible for some of Future Primitive's favourite techno from this era. We've tracked down the multi-genre 'president and production manager' behind 21/22 Corp, Charles Noel, for our next release. Formed of two exclusive productions, this Archetype 12" is the essence of techno at its most individual

Here's Another Huubaat Nugget That We Are Very Excited About To Release. "momentum" Includes A Collection Of Previously Unreleased Or Digtial-only Available Works Incl. The Collaboration Effort With Flako. The Vinyl Comes With A Lovely Soft-touch Sleeve.

"beatnicks Tape": All Tracks Produced By Hubert Daviz In April/may 2008. The Original Release "beatnicks Tape #01" Included 13 Tracks. These Tracks Have Been Released For Free Download In Summer 2008 On The Cologne Based Record Label Up My Alley. The Work On This Beat Tape Started As An Attempt Of Getting Familiar With One's First Own Equipment. Original Text From The Back Cover: "lots Of Vinyl, 1 Mpc2500, 1 Microkorg, Hands On."

"damage Is Done": All Tracks Produced By Flako & Hubert Daviz Between December 2007 & June 2008. Unreleased Beat Tape From The Joint Collaboration With Flako (going By The Name Of "damage Is Done"). The Original Version Was Completed By Flako On June 21, 2008 And Included 8 Tracks. "woop, Wooop.."

Orgone Records is a new Vinyl Techno label based in Dublin . The ethos of the label is to connect Irish artist with other artists around the world by working off a platform of having one Irish artist and two remixes from international artists.
For the first release Dublin's Doug Cooney is the featured Irish producer with remixes coming from Liverpool based Binny and Berlin based Versho. The EP is titled 'Convergences' . The A side of the EP features Doug Cooneys tracked titled 'Convergence' with Binny's remix and the B side features 'Show Up' by Doug Conney with the remix from Versho along with an intro track called 'W.O.N.T' to the track 'Show Up'.

Four electrifying edits from London & Paris based Mytron & Ofofo on the unstoppable Razor-N-Tape. 'Beach Buggy' goes full throttle from the get go with a conga fuelled, disco jam before the clock strikes twelve and 'Midnight Drive' offers up a low slung, late-night boogie cruise. On the flip side dreamy chords, soulful sweet nothings and synthesizer swells are the order of the day for 'Eli's Coming', leaving 'Capricorn' to close out the e.p. with a bass heavy, intergalactic chugger. Razor-N-Tape can do no wrong snap up on sight!

Two long-time friends Juho Kusti (Deep Space Helsinki, Parabel) and Ville Vähäsaari (Rezonans) bring you their brand new label, No Future But What We Make.

The label's first release features two broken beat burners on the A-side from Detroit-based Uun (Mord, Ego Death) coupled with a more straightforward remix from acid mammoths Boston 168 (BPitch Control, Odd Even, Enemy Records) on the B-side.

Make a difference. Get involved. There's no future but what we make.

"With a subject matter of an unsettled consciousness and the schizophrenic tendencies of the Artificial-Intelligence-Era, 'Chris Weeks', aka Kingbastard, has crafted a unique terrain for himself on his new EP, 'Standalone'; a beguiling workout of mind-bending, hardware-based electronic sounds. Weeks fuses Techno sensibilities with an array of Experimental-Electronic techniques, producing an EP which echoes the genius of Aphex Twin & Autechre; making the UK-based Producer one of the most adventurous heirs of the Warp label. The tracks found on 'Standalone' perfectly embody their titles, with glitch infused Techno, IDM innervation and fidgeting-synth flourishes, evoking the electronic-claustrophobia felt from living in our all-encompassing post-Snowden surveillance dystopia.
Championed by the likes of Bleep, Tom Ravenscroft (BBC 6 Music), Rob da Bank (BBC Radio1 & 6Music), CLASH Magazine, Igloo Magazine, IRM (Indie Rock Mag), Future Music Magazine."

Universalist is the first album by ACT! Baroque, kaleidoscope electronics; material sound for a disembodied world. The energy is optimistic and posi - even naive - a statement of unity in the age of psychic dislocation.

10 Tracks of phosphorus midi and brittle digi textures feel indebted in spirit to the masters of psychic jazz as much as the physical euphoria of the club. Above all, this album belongs to the catalogue of Halocline Trance, yet subtle references connect it to a larger lineage of free sound. The empty, divine heaviness of songs like Ecstatica / On Patrol invokes Yusef Lateef's Little Symphony, while the computerized spontaneity of Lava Valley feels somehow connected to Yasuaki Shimizu's Music for Commercials. Non-musical sounds and evocative melodies sit side-by-side - new psychedelia for love and life in the digital jetstream.

ACT! is a project from Toronto-based musician David Psutka. Building on a diverse body of releases as Egyptrixx, Ceramic TL, Anamai and various other collaborations, ACT! denotes a new chapter of creative output from Psutka and the Halocline Trance label. Universalist follows a prolific string of releases in 2017 with Anamai - What Mountain; Ceramic TL + Ipek Gorgun - Perfect Lung; and Egyptrixx - Pure, Beyond Reproach, and synthesizes recurring themes of materiality and the unifying potential of sound.

Released on Leeds Jazz & Soul labelATA Records, the debut LP fromThe Lewis Express takes the rich legacy of the soul-jazz outfits of the 1960s as the initial blueprint of their sound. Taking inspiration from the likes of Ramsey Lewis, Young-Holt, Eddie Cano, Ray Bryant and Cannonball Adderley, they present a collection of tracks that range from introspective spy film themes to burning Brazilian jazz.

Primarily based in Leeds, The Lewis Express is comprised of many of the musicians that have graced previous ATA releases: George Cooper, Piano (Abstract Orchestra) Neil Innes, Bass (The Sorcerers, The Magnificent Tape Band, Tony Burkill), Sam Hobbs, Drums (Dread Supreme, Tony Burkill, Matthew Bourne) and Pete Williams, Percussion (The Sorcerers, The Magnificent Tape Band, Tony Burkill). Recorded over an intense two-day session by the band of the same name, "The Lewis Express" is a nod to the classic soul jazz recordings of The Young Holt Trio / Young-Holt Unlimited and Ramsey Lewis, from who this group take their name. But, delivered with a distinctly European feel. As with many of the classic Ramsey Lewis cuts, this album was recorded live, capturing the rich inter-relationship between the players.

Kicking off the album isLove Can't Turn A Man, a slow burner that introduces the piano of George Cooper as he works over a rock solid backbeat.Cancao De Momentois an up-tempo Brazilian Workout in the style of Milton Banana with rhythmic piano punctuated by percussion.Brother Move Onis probably the most recognizable as being in the soul jazz vein, with nods to such classics as Ramsey Lewis'The 'In' CrowdandSoulful Strutby Young Holt Unlimited, particularly the latter. Moving intoHawkshaw Philly(their nod to session music legend and leader of The Mohawks, Alan Hawkshaw) the band create what sounds like a rare library cut.Theme From The Watcheris a nod to the cinematic soul-jazz of the 60s, conjuring up the sort of imagery that coincides with the black and white spy thrillers, espionage and intrigue.Last Man In The Chain Ganghas a very strong Ramsey Lewis feel and offers some of the most powerful piano playing of the whole album. The final track,Straight Seven Strut, is the only vocal track of the album. The staccato swing and French vocals lend it some of the qualities of 60s yé-yé music but with a far jazzier backbone, spiced with percussive handclaps.

6 track LP pressed on 12" black vinyl with black centre label, black disco insert, black laminated sleeve with barcode detail.

* London based label SM-LL presents its second main label 12" LP release, Zimní Král, from Italian artist Andrea Taeggi.

* Andrea Taeggi works in Berlin as a composer, live performer and electronic music producer. Besides his solo practice
— on his own name or under the moniker Gondwana, he is co-leading long-standing electroacoustic project Lumisokea. His music has been released on vinyl and dubplate on labels Opal Tapes, Type, and Präsens Editionen.

* The music on this record was made using a vast array of rare analog machines Taeggi had the chance to work on at the Willem-Twee synthesis studio in Holland (built with the iconic Studio di Fonologia RAI as a blueprint). Most of the percussive sounds come from an Analog Computer, which has been rarely used only as a music instrument (its main purpose was flight simulation). In fact, during the Cold War times it was also used as a measurement tool by civil engineers and even by the army. At present, no one has ever officially released music recorded at the Willem-Twee synthesis studio.

*The music on this record further explores cyclical, minimal and hypnotic concoctions - a particular investigation focused on unusual rhythms that Taeggi had already started on his well-received 'Mama Matrix Most Mysterious', released on Type in 2015. Think walls of sub frequencies, snappy rollercoasters of the mind, labyrinths in hyperspace & snakes eating their own tails.

The first release on the newly established Greyhound Days imprint comes from Christian Kroupa alias Alleged Witches, hailing from Slovenia, who proved his skills and innovation as a participant at the Red Bull Music Academy in 2014. Since then he became one of the most prominent names of Slovenia's techno and house scene, with making appearance on the mighty Fabric mix compilation, producing a remix of Alex Smoke for legendary Belgian label R&S, while also releasing a 12" entitled Serve The Spirits on R&S sub-label Meda Fury.»One Skilled In The Black Arts« EP consists of four tracks, meant for dictating the dance floor with their drum workout, as well as luring you into its deep ritualistic feel, with distant native tongues echo.For an extra wonderful hypnotic polyrhytms, a rework has been provided by Passarani, one of the Italian leading dance music producers and DJs, who continues to be an inspiration and providing his knowledge and skills to younger generations. While Bristol based Jacob Martin alias Hodge demonstrated his expertise in percussion, resulting in an slamming rework, not meant for the faint-hearted. Just shows, why Hodge is one of Bristol's most exciting new names.

Already played by:
Craig Richards
Seth Troxler
RPR - Soundsystem

Mennie and Julien Sandre team up under their Jarau alias for an impressive EP on One Records. Dubnova features two originals that span hypnotic synths, warm, sonic basslines and intricate spacey layers. For the remix, musical craftsmen DeWalta and Voigtmann join forces for the first time since their monumental Ground Effect EP on Jan Kruger's Hello Repeat in 2014. Here they showcase the more techno side to their production skills.

Friends and colleagues, Mennie and Julien, began the Jarau project in 2017 to experiment and push creative boundaries. 2018 saw the release of their Interstellar EP on respected vinyl imprint Pleasure Zone, which will be followed by this heavy-weight offering on One Records. Tenax resident Mennie was named by DJ Mag as one of the most prominent emerging Italian producers. Born in France and now based in Italy, Julien runs the acclaimed Blind Box vinyl only label, which he started in 2015.

Meander boss DeWalta a.k.a David Koch is one of the most admired artists in the industry, not only a talent behind the decks he delivers a remarkable live set and has released a wealth of music on key underground labels. Claus Voigtmann was originally born in Germany but bases himself in London, where he co-founded the underground and conceptual party, Toi.Toi.Musik. This year sees the release of his eagerly anticipated album and a focus on his Subsequent imprint, also playing regularly alongside Adam Shelton and Subb-an for their One Records showcases.

Mirror Box is the solo analog synth project of Dallas musician Sean Kirkpatrick. With an extensive resume that includes keyboard duties for Kill Rock Stars' 00s noise rock band The Paper Chase as well as his concurrent projects, dark post-punk-synth-rockers Nervous Curtains and darkwave duo Little Beards, Mirror Box is Kirkpatrick's first foray into the purely electronic realm. Blending together elements of Giallo moodiness, dub texture, techno propulsion, a passing nod to your favorite wave music, and a flare for the kosmiche, Mirror Box' debut release, Minimal Compliance EP, is a tour de force of the veteran musician's exploration of a wide range of influences and experience.

Released by Dallas-based Gavin Guthrie (TX Connect)'s TRU (Texas Recordings Underground), the 5-track EP kicks off with the immediately-gripping title track. A huge mid-tempo 808 beat drives the menacing Moog bass while cosmic synths explore the skies over gritty, urban terrain. 'The Body,' grounded by its stuttering and singular bass line, is an expansive reworking of a track from Little Beards' debut album which features Nan Kirkpatrick on the release's only vocal appearance. Side A closes with 'Destabilized Agent,' a retro-futurist dream that effortlessly voyages from Sagan's Cosmos to a melodic minimal wave refrain.

While the first side's lush synthesizers and sophisticated syncopation are somewhat of a departure for TRU, a label that has so far defined itself by bringing the electronic sounds of Texas' underground warehouse scene to dance floors across the sea, the flip side of the record is where the four hits the floor. 'Grifter React' opens with a hard kick and electro zaps, letting the rhythm take the lead until a distorted bass finally enters to provide the hook. Minimal Compliance EP finale, 'Critical Blitz,' weaves together all of Mirror Box' finer elements into a concise mission statement. Pulsing, hypnotic mono-synth, vintage mellotrons, classic hats and claps, sweeping production (courtesy of Alex Bhore at Dallas' Elmwood studios) and sparse synth melodies converge in dark analog pleasure that will guide you along like on a cool air-conditioned drive through a devilishly hot Texas night.:

Crazy 12 Track Library Music Style Album On This Ace Italian Label. All Based Around Bumping Live Rhythms Triggering An Obscure Japanese Drum Synth Module..recorded In 2017.
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It Was November 2017 When I Received A Call From An Old Friend, "hi Fabrizio, I Found A Rare Japanese Drum Machine, You Should Come And See It Before I Put This On Ebay." I Went To Check It Out And Immediately Realized It Had More Potential Than Just Drum Sounds Generation, It Was Able To Produce Quirky And Creepy Sounds If Triggered By Any Sound Source. So I Bought It And Brought In The Studio, Where Me And Alex Were Laying Down New Beats And Ideas. It Took Just Three Days Of Jams To Get The Skeleton Of This Record Done: I Programmed The Module To Receive Alex's Drum Hits And The Device Started Creating Synth Lines, Almost As It Was Speaking Its Own Language.i've Found A Soul In This Machine, And I Wanted To Bring It To Life In These Tracks, A Mix Of Arranged Compositions And Improvised Jams. No Root Keys, No Grids, No Clicks, Everything Came Out In An Instinctive And Natural Way

As Far As We Know It's The First Time This Synthesizer/drum Machine Is Been Used In This "improper" And New Way.

"Square Landscapes" is the latest album of Tbilisi based producer Rezo Glonti under the Aux Field moniker. This work is a synth-curved journey influenced by mutated urban landscapes of his native city. Art-work by Amsterdam based artists Graphic Surgery.

5 catchy tracks by eighties bristol outfit Umo Vogue Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit 'The AT's', along with Bristol based singer Debbie Marlow. Neil's Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine 'L'Uomo Vogue'. After winning the Bristol 'Battle of the Bands' in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in '83 and released their first single 'Just My Love' released in early 1984. The second single was 'Make It Real' and was never released as the band were culled from the EMI roster in late '84. For this reissue of their debut single we've added 3 bonus tracks, a demo of 'Just My Love', the unreleased follow single 'Make It Real' and a bedroom demo 'Erotica.'

Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band's archive. 'We're synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.' - Umo Vogue

Cold Beat is a San Francisco-based quartet fronted by Hannah Lew (synths, vocals) with Kyle King (synths, guitar), Luciano Talpini Aita (synths) and Sean Monaghan (guitar). Formed in 2013 the band has released three albums and two EPs. 'A Simple Reflection' is a 7-song collection of Eurythmics covers, yet feels just as personal as any of their original material. While digging through a collection of 12s for her record shop Contact Records, Lew stumbled across the earliest Eurythmics B-sides and was floored. This lead to the discovery of their debut album 'In The Garden'. Annie Lennox's abstract and poetic lyrics really struck a chord with Hannah. What had started out as a single cover quickly snowballed into a full blown obsession. The synth and drum programming resonated with her songwriting process, so reimagining them was very creatively fulfilling. The covers on this EP are simultaneously dynamic and atmospheric post-punk that plays to Lew's ethereal vocals and King's crystalline guitar. All songs have been mixed by Mikey Young (Total Control) and mastered by George Horn at Fantasy Studios. The record is housed in a jacket designed by Eloise Leigh, which features pink and purple clouds that evoke a dreamy softness and DIY playfulness and photos Lew in her best Lennox-inspired drag. Each copy includes a postcard with photos and notes. 'Sometimes a song seems to sing just for you, as if someone knows your most inner thoughts and feelings and has found a way to describe them effortlessly' - Hannah Lew

First taste of the upcoming Tempo Dreams Vol. 5 album, compiled by LA based beatmaker Free The Robots. Coming in with a seperate vibe all it's own, the 7" features the exclusive track "Nasi Goreng", a lo-fi psychdelic beat heavy romp through South East Asia, complete with Gamelan vibes. On the flip, "Marano" is a downtempo ultra bass heavy joint with sparse production, vocal chops and swirling synths.

End of summer is nearby again and Luise is reminiscing this year's precious moments. With a touch of melancholy and weightless beauty Zazou & An On Bast are setting the right theme for the upcoming autumn days. While knowing and following each other's musical progression for years, this celebration of polish-german friendship came off with unexpected ease and utterly pleasing results. In the spirit of collaboration this release is supported by Basel's charming Arutani on the vinyl side and Luise's own Niju aswell as Plattenfreund Gottlieb Scheppert on the digital outlet. Completion it is by any means.

LPost-Heretic Dracula X Chronicles is Nicola Kazimir's debut album. It features 30min full of diverse, rough, evil, melancholic electronic music compositions either partly sampled out of important melodies in his life or fully produced by him. Post-Heretic Dracula X Chronicles LP draws from contemporary and past cultural references evolving around institutional-critique, occultism and dividualism and manifests those via metatags or sonic compositions.

Nicola Kazimir is a part of the collective Les Points based in Zürich, Switzerland.
His art/music draws from 90's rave utopias, decentralized & dividual thought, institutional-critique, occultism, progressive & accessible frameworks as showcased at their offspace Mikro -
a physical room which has no doors and opening times during exhibitions and raves - making an institution available to all social layers.
His recordlabels "Les Points" and the newly founded "Gentrified Underground" appropriate those ideas and transfer them to the distribution channels of electronic music.
Nicola refuses genre-stigmas and explores a vast number of genres in his dj-sets and productions - his newest LP "Post-Heretic Dracula X Chronicles" being an example of that diversity.

The second of Polytechnic Youth's ace new LPs for July, sees a mighty set from Austria based synth pop duo Mitra Mitra. Following previous releases on Peripheral Minimal and their own Micromort label, not to mention a lathe cut right here on PY that sold out in 20 minutes in Dec. 2015.



The band was formed in Vienna in late 2014 by Violet Candide and Mahk Rumbae. Originally from New Zealand, Violet Candide is a founding member of the Crazy Hospital DJ collective, and one of the organisers of the legendary 'Future Echo' club night in Vienna, and is one half of 'Anesthetic Hairpins'; whilst British musician Mahk Rumbae is known for his work as a member of the industrial/experimental project 'Konstruktivists', 'Oppenheimer MkII' (with Andy Oppenheimer of Oppenheimer Analysis) and his solo techno project 'Codex Empire'.

After working together on one of Violet's solo songs, 'Heat', the pair decided to continue working together and formed Mitra Mitra as a more full time project, with the aim of writing electronic songs not tied to any particular influence or style. However, if there was such a thing as a signature PY sound- arguably this LP (alongside last year's Vorderhaus full length), encapsulates it most. Beautifully icy cold synth pop straight outta' early prime era Mute / Blackwing studios output. Serene yet melodic, edgy, dry icy hooks and delicious grooves aplenty all over this record. Eight wonderful tracks where quality and sheer melodic guile of the song writing never dips and attention truly is held across the whole set, ....no mean feat indeed.

Available as a 300 pressing LP only, destined to sell out rapid style as have all previous releases by both artist and label.

Fresh off the back of their debut label release with Archie Hamilton and Venda, Subsonic Music has delivered another sterling stripped back, dubbed out and groove based release from Australia's Dylan Griffin & Chad B including a catchy interpretation by the internationally celebrated master of minimal sounds Alexkid and an exquisite (vinyl only) remix by the critically acclaimed Monika Ross featuring her trademark groove.

Todres Records, the uprising middle eastern boutique label from Tel Aviv, is proud to present it's first official 7" reissue release: A double A side bombshell comprising of all the elements searched for by Dj Shadow, J Dilla & Kid Koala.

Led by Dj Todres (The Apples, CRuNCH 22), the label's vision is to expose the world to Israel's finest artists, past or present, all joined by the same common ground: the groove.

A Side:

Composed by organ and keyboard great Haim Shmueli, "Halilit Kesem" was the theme song of his group, "The High Voices", the famous house band at the legendary "Calypso Club" in Ramle, Israel, during the early to mid 70's. The psychedelic, spanish-phrygian flavoured track is built around the Sonata form, with Shmueli's captivating oriental synth solo is shining right at the middle, between beautiful Stop-Time breaks and the African triplet-feel segment. Inspired by Keith Emerson and Jimmy Smith, Shmueli's masterful playing and composing is a unique world to explore.

B Side:

Based on Bach's prelude no 1 in C Major, Shlomo Gronich's re-composing was created while he was under the influence of an Acid trip. The vicious drums, the fat bass line and the flying flute melody, illuminated the track in psychedelic colors, making it one the most unique arrangements a classical piece ever received.

Next up on Nang it is time for a slice of spot-on male vocal house and disco. Liverpool based Thomas Lang made some fine albums in the 80s and 90s with John Murphy (who went on to carve a highly successful career in movie tracks) and David Hughes. Somewhere in between that and a string of recent albums (Torch Songs and The German Alphabet) he also managed to buy one of the finest recording studios in North West England, Parr Street Studios (the "Abbey Road of the North").

We are pleased here at Nang to see a new avenue turned in Tom's life, his first foray into the dance world. "Scared" was written with late Liverpool songwriter John Uriel quite some time ago. It first emerged as a b-side to Tom's comeback single "August Day" in 2011. Here at Nang we always loved the smooth and sophisticated vocal and melody. When Tom suggested some remixes we were on board.

"Scared" is a peak time vocal house track, here presented with remix options.

The a-side sees fellow Liverpool DJ crew The Imposters taking the track on a dubbed out trip, before flipping over for their hypnotic, swing-house rework which highlight the layered vocals and smooth sax. Camanchi take us for some peak time House action.

Matthew Halsall first met the La-based, spiritual jazz vocal legend, Dwight Trible(Kamasi Washington, Pharoah Sanders and Horace Tapscott) at the Joy of Jazz Festival in South Africa back in 2015, when a chance encounter backstage led to Trible sitting in with The Gondwana Orchestra for an impromptu reading of the classic Pharoah Sanders and Leon Thomas anthem 'The Creator Has A Master Plan'. In 2017 they released the deep, soulful Inspirationsalbum together (GOND017) but inspired by their first meeting Matt arranged some classic Pharoah tunes for Dwight to revisit. This then is The Gondwana Orchestra featuring Dwight Trible, Colors: a 4 track vinyl and digital only EP featuring brilliant new versions of Colors,The Creator Has a Master Plan, Love is Everywhereand You've Got to Have Freedomand featuring the Gondwana Orchestra with pianist Taz Modi, bassist Gavin Barras, drummer Jon Scott, harpist Rachel Gladwin and Matt himself on trumpet.

Packed in a distinctive bright orange Gondwana Records sleeve this is the second in a collectors series of spiritual jazz limited-edition EPs set for release in 2018 as part of Gondwana Records' 10th anniversary.

After a triplet of solo 12"s, all courtesy of label main man Rupert Marnie, Hamburg-based imprint The Press Group are set to break 2018 in with the multi-flavoured TPG004 - a versatile debut VA that offers a fine close up on the label's whole cast of operating forces with some choice contributions from TPG's core tetrad including Youthman(29), Ten Letu, DJ Dodo and Marnie himself. Mind your backs!

Shape-shifting yet coherent as a whole, this collective effort puts together a swinging confluence of sounds and aesthetics - clearly aimed at the dancefloor but equally poised for laid-back chill sessions. First release on the label to reunite the entire crew, TPG004 mashes up a wide-spanning array of grooves and tempi in exploded view, giving full vent to each artist's idiosyncratic universe whilst establishing a hyper-modern sound ID, both infectiously funky and undeniably potent.

Casting its net far and wide: from the pared-down astronautical breakbeat of Youthman's 'Aemilia' to DJ Dodo's breezy jacking jazz-footwork hybrid 'The Machine' via Rupert Marnie's lithe ganjah-smelling shuffler 'Health' and Ten Letu's muscle-flexing acid roller 'Ah, You Shot Me!', it's a feast of feelgood beats that you're invited to, neatly connecting the dots between the guys' shared love for video game soundtracks, liquid dubstep, heavy jungle breaks, minimal house and further daydreaming, hazy harmonics to drape yourself into.

On her Unterton debut, Their Specters, Borusiade offers four different takes on atmospheric, industrial electronics and chopped rhythms, composed around the themes of ecological and human self-destruction. 2018 has already been an active year for the Romanian-born, Berlin-based electronic musician, who released her debut LP A Body on Co´meme in March and has since toured her live set throughout Europe. Known for a hybrid sound between noisy electronics, techno, post-punk, and dark disco, she has also released EPs and 12's on labels such as Minimal Wave sublabel Cititrax and Jennifer Cardini's Correspondant. EP opener 'Forewarned Is Forearmed' sets the tone as a massive drum march, stomping forward between rolling snares, clanging metal percussion and guttural drones, while evolution-themed 'Common Ancestor' is a tribal head-nodder, with booming sustained kicks offset by overdriven snare brushes and fluttering synths. New forms from a primordial sonic pool. On 'Doublethink' wailing synths and stuttering rhythms vie for dominance in a storm of off-kilter techno, while the mammoth, slow melodic closer 'Atlas' moves to the pace of waves crashing and hypnotic, detuned, interwoven melodies. Big sounds for the end of days.

Hypnotizing rhythms and stormy bass cuts make up Various Visions 2, as D-Operation Drop, Zygos, Hebbe and mrshl unite on the Copenhagen based label's 9th vinyl release.

Various Visions is a new series of vinyl releases by Circle Vision, launched to present an umbrella of artists from around the globe, who share the label's vision of sound design and affection for immersive bass music.

Mental Overdrive, Norwegian gran ol wizard of techno, owner of Love OD Communications starts of with 'Clocked', a colorful and moody track with a touch of grittyness. Thomas Urv, Ploink Label head and one of Norwegian techno's main protagonists, brings a signature raw high energy techno track '6.24 Con Dao'. Per Hammar, Swedish producer and DJ based in Berlin, the captain behind Dirty Hands and 10Years labels delivers a steady dubbed hypnotic house track 'Blank Space'. Thomas Skjaerstad from Trysil, Norwegian winner of Burn Residency 2017 finishes the EP with a punchy, dark spaced out techno track titled 'Space X (Sommeroya Edit)'.

At long last! We're delighted to present a hypnotic time-capsule courtesy of Dissmentado aka Ismael Pinkler from Carisma and Kompakt collaborator, Máximo Graesse Bondino.

Recorded during summer trips in Buenos Aires and spending autumn in Tromso, Norway between 2006 - 2010, Maximo and Ismael met several times during that period and used friends houses and studios to produce a long list of material, selecting later the best of it for this compilation.

The tracks are long and slow, with deep and moving beats and long background sounds dedicated to warm up dreamers and after hour survivors.

The elements develop their movements in a relaxed way through the tracks creating a loose feel. Every beat was played with their hands and there is no arpeggiated melodies to remind you where the ground is.

The release is complemented by a beautiful artwork by the supremely talented Glasgow-based artist, Rosie McGurn

Tucky Buzzard
The Complete Tucky Buzzard 5 Lp Slipcase Box Set
- Having Come To The End Of The Psychedelic Path, The End Decided On A Change Of Musical Direction And A Change Of Name,
Arising From The Ashes As Tucky Buzzard In 1970 And Retaining The Line-up Of Guitarist Terry Taylor, Organist Nicky Graham,
Drummer Paul Francis, Bassist Dave Brown, And Vocalist Jimmy Henderson.
- The First Album, Recorded With Madrid Philharmonic Orchestra Directed By Waldo De Los Rios, Contained Some Last Vestiges
Of The Band's Previous Existence. But The Second Album, Produced By Old Associate Bill Wyman With Glyn Johns At Olympic
Studios Set Out The Band's Template Of Bluesy Rock, A Leading Genre At The Dawn Of The 70s. Mick Taylor Makes A Guest
Appearance.
- For The Fourth And Fifth Albums, The Band Was Signed To Deep Purple's Own Purple Records. Bill Wyman Continued In The
Producer's Chair, But The Departing Nicky Graham Was Replaced With A Second Guitarist.
- Strictly Limited To 750 Copies, And Housed In A Numbered Rigid Slipcase Featuring Photos From The Collection Of Terry Taylor
(bill Wyman's Right Hand Man In The Rhythm Kings For The Last 25+ Years), All The Original Sleeves (including Two Gatefolds)
Are Faithfully Reproduced. The Inner Sleeves Feature Extensive Annotation By Alan Robinson Based On Interviews With The Band.

At first, it's difficult to pinpoint exactly what makes Our Girl so special, or why the Brighton-formed, London-based trio's music stands out within a busy crowd of fellow guitar-wielding-types. But if an explanation didn't jump out when they first emerged with a debut EP of mighty fuzz-soaked songs in November 2016, it surfaces with 'Stranger Today', a debut album of personal, emotional juggernauts that could have only been made by these three people: Guitarist / vocalist Soph Nathan, bassist Josh Tyler and drummer Lauren Wilson.

Since forming in Nathan and Tyler's Brighton home four years ago - Wilson joining as a late recruit when she was wowed by a demo of their self-titled debut track, and 'Stranger Today''s opener - Our Girl's members have only had pockets of time to work together. A day booked in a local studio here, a soundcheck there, full-time jobs and other projects meant the three rarely had a concentrated, collective patch. This changed in September 2017, when they stayed in Eve Studios in Stockport for a week, recording with Bill Ryder-Jones. Their week in Stockport became a crucial catalyst for what would follow. Ryder-Jones is a guitar virtuoso himself ('He did stuff neither me or Soph had ever seen anyone do before,' Tyler remarks), and he became an unofficial fourth member of the group.

'Stranger Today' is a special debut for several reasons: First, because it's the sound of a band beginning to grasp their own value and place in the world. Secondly, because you can hear the trio's hunger to finally get in the same room and put to tape years' worth of scrapbooks, half-finished ideas, and a slowly-forming feel for how their first album would actually sound. 'What band isn't itching to make their debut But it's quite frightening, knowing you're about to do it,' Wilson remembers.

The real clincher, however, is Our Girl's dynamic, and how it plays out across 'Stranger Today'. Best friends in person, the trio share the same close kinship and chemistry on record. On one side is Nathan's visceral lyricism, which has a habit of detailing and chipping away at precise moments; the first heart-flutter of a new crush; the moment a long-term friendship begins to ebb away. Around her, Tyler and Wilson's rhythm section carefully mirrors each feeling Nathan conveys. When she sings pointedly about love ('I Really Like It'), she's backed by a major-key afterglow. When the subject turns on its head ('Josephine'), out steps a wall of taut, earth-shaking noise. They each 'serve the song,' in Wilson's words, moving in sync but with their own personal slant. Not least on the closer 'Boring', where all restraint is thrown aside and the trio let out one final, violent thrash. They inhabit a space bigger than the first loves, sleepless nights and growing pains that define this record.

Nathan remembers being in Brighton four years ago, shortly after Our Girl formed, and realising, 'I was finally in the band I wanted to be in.' Almost half a decade later, and this eureka moment is sewn up on 'Stranger Today'. It's the sound of three friends totally at ease in their own space, discontent with being anywhere else; a vibrant document of what it's like to be young, invigorated and amongst people who feel the same.

Beware of the blazing sun when she's orange and transparent.
Overwhelmed with the ecstacy of flight, Icarus soared into the sky like a bird, or rather a god. Drawn by desire for the heavens, he ascended higher and higher towards the sun. When the heat melted the wax on his wings, he fell from the sky and vanished into the dark blue ocean, where feathers, still today, ride the waves of the Icarian Sea. Aimed at dancefloors in sleazy bathhouses, seedy basements and soiled warehouses, Icarus Traxx' first offering takes us back to the mythical days of anonymous, muscular power house. Delivering no less than three takes of 'Commandment' (plus two acapellas), the 12 inch, starring the enigmatic voices of Jesse B. Simple and Charlotte B. Good, supplies a choice cut for every disc jockey.
'Jack 88 Tape Mix' starts things off with a vigorous kick, prosperous strings and the spirited voice of Jesse B. Simple. The oracle proclaims celebration times. Addicted to Jesse's vocal delivery The acapella will guide you through your most ecstatic moments.

The lights go out on 'Get Your Life' just before it wakes you up with a slap to the face. Again, it's Jesse in the vocal booth, groaning his mantra to 'dance, jack and get your life to this' on a bed of erratic kicks, jittery acid and vexed rave stabs.

On the flipside, the celestial Charlotte B. Good glides into the room. Her sensual Spanish stanza gracefully inhabits 'Spanish Fly Reprise', made for horny, high as a kite early mornings. Charlotte alerts you that your time to snatch up your one true love on the dancefloor has nearly expired.. Like a siren, she lures you into her universe with sweet lamenting whispers. Better think twice before you follow.

The rising London based label is quickly defining his own and unique sound laying down the law with another live jam recorded 4 tracks release by his own boss DOTHEDU.Following the success of the first release, Senseverse Records has came back with Lost Acids EP, a rough lost minded trip with an unusual sense of refinement. The producer lets the trip's curtain rise with Lost Acids which takes us to a gloomy hidden place on the edge of the house and techno roots with a banging 909 and crescendo 303 which dives smoothly into the background own producer's voice, Colombine Acids explores the happier stage of the trip and keeps the sound on the thin line in between the 2 genres with his fat kick and the flying and clashing crashes.
The B1 throws us right back deep into the dark with a slowed down and mentally twisted remix by the very well known producer Florian Kupfer. Finally Early Acids rings down the curtain's trip with some fine classic house music sonorities that lead us to a dreamy and dancy closing.

The group Shake was the brainchild of the elusive soul and funk singer/producer Lenis Guess from Norfolk, Virginia. It is now considered one of the great overlooked funk bands of the late 70s Virginia scene - a tight little combo with a warm style that's just right for the dancefloor! The VA groove of the time was a different take on the styles being used up north in Philly and New York - as the groups were often more traditionally funk-based, especially in their instrumentation - but played in a mode that was upbeat and soaring, perfectly suited for the disco-era dancefloor, yet handled with the sincerity of an indie soul group. Shake communicate a heck of a lot in their music - moving through some great original tunes written by producer Lenis Guess, done with some nicely personal touches that maintain the indie spirit of the set, even though the group's overall sound is tightly professional. Originally released on Guess records, it includes the Kon & Amir favourite 'Lost In Space', but the whole album is just great.

Breach is back with his second release of the year on his new imprint NKDLTD. On NKDLTD002 Breach delivers a two tracker entitled 'Turtle Dance' which continues where he left off in quality but stylistically stepping into warmer tones for the summer months. NKDLTD001 saw the first release from the Amsterdam based producer in three years and with it a return to Breach's roots. Deep, dark & moody tracks which went on to resonate with a broad selection of artists including Benji B who went on to play it numerous times on his seminal BBC Radio 1 show.

Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. 'Solyaris' follows the self-released '' and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.

Selwa describes 'Solyaris' as 'an ode to the present broken education system that allowed me to sustain my dreams in NewYork', explaining, 'As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music'.

There's a undeniable physicality to Bergsonist's work, and the idea of expunging anxiousness into her music is felt from the oft as 'Solyaris' strides into vision with it's quickening roaring pulse and scrambled explorative electronic probes. This sense of anxiety eases as layers of rhythm build - heads begin to turn down and lush minimalist swathes eventually envelope bodies in calm unity, Anxiety diverted.

'Conflict in Yeman' opens with a gambit of off-kilter percussive experiments & electronics, conveying a sense of determined urgency. Things grow more & more intricate & immediate as we progress - layers of disruption weave around a reoccurring 140BPM shuffle, anchoring Selwa's constant explorative concrete diversions.

'Former Alien who has been naturalized by a U.S Citizen' brings things down a notch - skittering drums linger below a truly haunting whispered melody, occasionally broken down by collapsed rewinds and thunderously raw in the red beat grit - to dizzying effect. Whereas previously 'Solyaris' had taken its cues from Drexciyan Detroit Electro 'Former Alien...' stands closer to a Fantastic Damage era EL-P instrumental rather than anything aimed at the floor.

The EP rolls out with 'Fidel Gastro', a structured & focused piece of Machine Funk & end of days drop cues, conjuring an effective mix of both euphoria & imminent dread.

Bergsonist cuts a unique figure for electronic music in 2018 as someone explicitly exploring the relationship between head & body music. Although undeniably more than oft aimed at the dancefloor, Selwa's work also holds an equal respect and understanding of the head & heart. From her politically loaded Track titles, to her ideologically aligned guise of 'Bergsonist', to most significantly - her music's ability to elicit a spectrum of finely tuned emotional responses within the confines of each track

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

The music on this EP was conceived in China, between 1989 and 1993. The original tracks were mixed to DAT in real time, in a small neighbour-proof studio inside my apartment in Macau, a 19th floor with a view to the hurricanes. There's a small, unexpected or improbable story behind each track, some little magic fused with the local atmosphere, certainly guaranteeing their lasting authenticity 25 years later.

TAIPEI DISCO
Late 80s Guangzhou was an exotic city where the traditional past coexisted in harmony with the present and even already with the future.
I'd rather spend my weekends in Guangzhou than diving into Hong Kong consumerism - as most ex-pats in Macau did. I took a cab at the border and travelled 150 Km through chaotic roads with family and friends until reaching the hot, humid, mega South China metropolis.
We ate on street joints in the evenings, went on to a karaoke bar and ended up at Taipei Disco, the only proper club in town. All the others were inside hotels and played generic music or they were seedy, sleazy, smoky cabarets.
Taipei Disco used to be a cinema and played cantonese pop music and anglo-saxon pop/rock (that was new). The spacious dance floor was generously lighted, the atmosphere was airy and modern. Boys and girls were in the habit of dancing in pairs, one in front of the other, observing a respectful yet sensual distance. When the girl took a few steps back, the boy went along and vice versa. With legs and feet (more than the upper bodies) synchronized with the music, they never exceeded in extroversion. Cool.
I always carried a MicroComposer and a portable DAT recorder in my travels through China and weekends in Canton. Any spontaneous musical idea was imediately recorded and memorized. The MicroComposer allowed multitrack recording, which was very handy on the road. Based on the emphatic choreography of Taipei Disco's dancers, i started to compose a rhythm track while sitting at a table, with headphones, listening to Cantopop in the background. As if by magic - not a rare occasion in music - everything began fitting together. Odd as it may seem, the track ended up sounding more germanic (Kraftwerkian) than Cantonese pop.

The story ends in a circle: the cantonese DJ at Taipei Disco, whom i used to ask to play certain records, wanted to play my music at the disco when it was basically only just a rhythm track and little else. From a cupboard under his set up he took out a battered keyboard (unrecognizable brand) and invited me to play over the track with the available sounds on the keyboard. The circle was complete, with Cantonese clubbers happily dancing forwards and backwards, as if it were another Cantopop hit.
I didn't get payed but the house offered us free ice cream cups in which little Portuguese flags were sticked.
The track would be finished later, in studio, with vocoder strings ensemble and synth solos.

TAIPEI DISCO (LIVE)
The live version of 'Taipei Disco' was recorded during a live set at the China Pop venue, in Macau, 1993. China Pop was a rock club built in the ample space of an old fishing warehouse, located in the labyrinthic Inner Harbour area. It was decorated with large Mao Zedong and Cultural Revolution posters and memorabilia and had a unique atmosphere, fusing Pop Art with film noir. We began our performance at 1AM, pretty early for Macau's nightlife standards. We were lucky. An audience showed up. And in Macau there were always several friends among the audience, which tranformed a musical performance into a relaxed party.
The atmosphere was particularly surreal on that night. The front row was dominated by French Crazy Horse dancers, a sort of Oriental Moulin Rouge. The girls had finished their last performance of the evening at the Crazy Horse and were still energized from their show. During our performance, right in front of us and perfectly synched, we could hear the famous irreverent screams of can-can dancers. You always had to expect the unexpected in Macau.

RED MAMBO (IMPROMPTU)
I was familiar with the Portuguese-speaking African countries well before having lived in China. I found myself returning several times to one in particular, always attracted by its magic and very distinct, identitary culture and music: Cape Verde.
During the early years of DWART a lot of the inspiration for drum machine rhythms (Roland's TR series) came from African music, especially from new musical trends that gained full autonomy with Cape Verde's independence from Portugal, as was the case with funaná.
I had the privilege of having known and befriended some of the greatest Capeverdian composers, musicians and singers during the 70s and 80s, such as Bana, Luís Morais, Cesária Évora, Paulino Vieira, Chico Serra, Tito Paris, and historical bands such as Bulimundo (ambassadors of funaná) and Os Tubarões (great innovators of morna, coladera and funaná, with the sonic impact of an afro-beat big band).
When Luís Filipe de Barros began playing Os Tubarões for the first time on Portuguese radio, that was the turning point for African music in Portugal. The 'Tabanca' album was so widely heard and talked about that it quickly got a Portuguese release through one of the big labels of the time.
The mystic of this band from the Santiago Island would reach the East. Os Tubarões played to a packed room in Macau in 1992, and after the bombastic gig we arranged a dinner and party at my place.
We ate and drank generously and the moment came for a jam session at the small studio on the 19th floor. Because Os Tubarões didn't all fit in the studio, we recorded an impromptu with only three of the musicians: Tótó Silva (electric guitar), Mário Russo Bettencourt (bass) and Zeca Couto (piano). And there we were improvising without barriers, suddenly detached from cultural roots, labels and constraints, a truly unique moment. The track is now being released exactly as it was recorded, imbued with the real communion between the musicians. And it could only be titled 'Red Mambo'. I wish to dedicate it to the memory of Ildo Lobo and Jaime do Rosário, founders of Os Tubarões, sadly and too soon departed from the land of music.

For this EP, Jófríður Ákadóttir has re-recorded some of the finest songs from her bands and solo-projects (JFDR, Samaris, Pascal Pinon) with new string arrangements. These versions have a simple, inherent beauty that is juxtaposed with their seething, stark intensity.

To replace the original arrangements with strings was originally planned as a one-off event: When preparing a Pascal Pinon performance in Portugal, Jófríður asked NYC-based composer Ian Davis to help her re-arrange four tracks. After the show Jófríður realized that the material deserved to be captured.

The featured songs were chosen from the repertoire of JFDR (her solo project) and Pascal Pinon (the duo she forms with her sister Ásthildur). There were no objective selection criteria: - I chose the songs that called for strings, songs that I was interested in continuing their story', Jófríður says. - Making this EP was meant to cast new light onto old bodies, to explore what is song and what is arrangement'. Indeed, the arrangements establish a fresh perspective on the selected songs (except for - My Work' - as the track will appear on a forthcoming JFDR album). Being freed from genre, these versions also expose JFDR's voice and its dynamics— the absence of beats gives her vocal performance new possibilities.

The EP was recorded live in a studio in Reykjavík, where Jófríður was joined by producer Albert Finnbogason, her sister Ásthildur (additional vocals and piano) and a string quintet. Ian Davis also made it to the recording sessions and brought two new transcriptions: - I wanted to have moments of clear simplicity juxtaposed with more dense, experimental passages. Sometimes the strings are just holding root notes and simple chords and other times they open up into more contrapuntal and textural moments', Ian explains. As a result, you'll find both moments of modest beauty as well as intensely seething passages. Even if Jófríður's voice clearly is the main attraction here, this EP - as she emphazises herself - is a collective work of those involved: - Trusting your collaborators is the truest gift'.

Mid last century. Commercial Music is a machine that generates dances that run each other over in the urge to reach the audiences and mark their place in time and history.

A never-ending list of choreographies co-habit: hully gully, madison, rock, limbo, twist and a long etcetera, until a new dance, bossa nova takes over the dance floors. Joao Gilberto, Tom Jobim or Vinicius de Moraes reach stardom in Brazil with this mix of samba and jazz, but the genre doesn't explode internationally until a few American jazzmen decide to import it. From there it reaches Europe, via France, thanks to Sacha Distel, the first on the continent to record an EP completely dedicated to this phenomenon.

It is 1962.

Shortly after in Spain, the number of artists including original or adapted tracks in their albums, escalate: Tony Vilaplana, Mina, Duo Dinámico, Latin Combo, Los 4 Brujos, Gina Baró, Grau Carol, Salomé or Marisol, who popularizes the new trend by recording 'Marisol rumbo a Río', a blockbuster film partially filmed in Brazil. The maestro Augusto Algueró writes the films soundtrack.

For this compilation we have consciously dug into the archives of three Barcelona based labels like Belter, Discophon and Olympo to serve Spanish sung bossa nova songs that have never, inexplicably, been released on vinyl, all songs are recorded during those two (musically speaking) prodigious decades: the twentieth centuries sixties and seventies.

Kevin Murning is a musician, producer and DJ from Cape Town, South Africa. He describes his music as fake jazz, probably because he dropped out of jazz school. At 23 years old, Kevin's music is youthful yet precise and his debut EP offers an intriguing cross-section into his varied musical experience to date. The release comes out via Cape Town based imprint, Quit Safari, home to some of SA's most exciting producers.

Kevin's debut comes in the form of a 5-track EP called Mode's Arp. Comprised of 3 originals and 2 remixes, the release serves as a dual functional one with tracks for home and club use. Taking 2 years to fully complete, Mode's Arp is a wonderfully considered body of work and speaks volumes about Kevin's talent and his ability to create music that is beautiful and banging. Both Kevin and Quit Safari label head, Zanasi Wifi, are on remix duty for the EP, taking the originals and recontextualising them into high octane percussive workouts.

DJ support already includes The Maghreban, Turbojazz, Severino, Laurent Garnier, Mystic Bill, Edmondson and more.

An impressive debut EP on fledgling UK label Uncertainty Principle from Berlin-based artist Lårry. sys_001 features four tracks of superbly produced microtonal electronica and techno, cerebral and banging in equal parts. Opening track systems_hyperthread ramps up the tension before growling into action, techno thumper systems_obfuscate hits like a jack hammer, and systems_online resets the mood before systems_encoder sends us spiralling into the future. One to watch.

Aussteiger is a Berlin based German DJ / Producer. He runs the Dub Disco label in Berlin and DJ's around the world. Zusammenkunft is his debut album released on Copenhagen's Music For Dreams. Once upon a time a golden boy came back from the shadows. Rumors were told that he once left the big city in a time where the music scene and clubs were dominated by cold music and average beats. He left behind civilisation, living withdrawn in the woody mountains of a covert place. From there on people talked about him as Aussteiger. Connected to the nature and deeply rooted in the harmonic essence, Aussteiger became a part of the great whole. In a full moon illuminated clear night while experimenting with various unique herbs he accidentally found a recipe to create warm and ravishing music. He firmly believes that music is his infinite source to gather strength and positive energy After years of strengthening himself and shaping vibrant sounds Aussteiger decided to share his delightful music with the world. He returned from his retreat in order to enchant the music lovers all over the world with his feel good approach and supernatural sounds. Coming back to the city, he also co-founded the awesome Dub Disco Label with his buddy Serj Nosé.

AE Productions in association with In Effect Recordings are proud to present the next installment from Philadelphia legend Phill Most Chill, this time with beats provided by Nova Scotia based DJ/Producer Jorun Bombay, under the guise of Jorun PMC - with a tip of the hat to Hip Hop legends Run DMC. If you've heard either of Jorun's incredible Rock The Discotek mixes you may have heard one or two tracks from this 12' in their early form as parts of those mixes. Here at AE Productions we thought it was a shame that they weren't available as songs in their own right on vinyl so here they are with an extra track for good measure and with more of Phill Most Chill's trademark artwork making the sleeve look incredible!
The EP opens with Can't Stop Won't Stop and gets straight down to business. Phill Most Chill starts on the first beat of the first bar almost as if he can't wait to rock the spot. This is pure party Hip Hop fueled by uptempo Disco Breaks, but don't be fooled by that statement - this is no crossover rap music, we mean the type of party that could be found in parks in New York in the early days of Hip Hop. Listen for a whirlwind of extended turntable action from Jorun who slices like a food processor throughout.
Magic Disco Machine stays with the classic Disco Break sound with various nods to Block Party Classics which create a great club friendly track. Again with some serious turntable skills from Jorun to complement Phill's hype rhymes, this is the brand new exclusive track for this release and has all the credentials of a summer party classic.
The final track here The Champ stays with the classic block party theme but this time utilising a raw Funk groove that will be a surefire hit with B-Boys and B-Girls worldwide and shouldn't fail to get any Hip Hop party moving. This could be considered the most underground sounding of the three tracks assembled here.

Ahead of the release of his new album Book Of Life, Erased Tapes will re-issue Stories, the first in a trilogy of vibraphone solo albums by Berlin-based composer Masayoshi Fujita. This quietly exquisite album is like a book of illustrations, evoking scenes of natural beauty and poetic poignancy that combines climactic crescendos laced with electronic detail and luxurious melody. Stories is the beginning of Masayoshi's mission in bringing the vibraphone — a relatively new invention in the history of instruments often kept in the background in orchestras and jazz outfits — into the spotlight. Having trained as a drummer, Masayoshi began experimenting with the vibraphone, preparing its bars with kitchen foil or beads, playing it with the cello bow or using the other end of the mallets to create a more ambient texture of sound. Focussing on the vibraphone in this way sets Masayoshi apart, dedicating his artistic life to celebrating this fascinating and often under appreciated instrument and making his take on ambient and modern compositional styles a unique one.

Exhumed Tapes II is the second in a multi-artist series of cassette releases on the Modern Cathedrals label. With label art featuring small details of 'important graves,' the series will dig into eery, broken beat techno with gritty textures.

The second tape features four tracks by Detroit-based artist Uun, whose work on the EP builds from careful and subdued atmospheres to aggressive percussion-driven tracks. In keeping with the themes of the series, the label art once again features the grave of an author chosen by the artist.

It will be limited to 50 hand-numbered physical copies.

Mateis e. aqir is an artist currently based in Catalonia, living by the sea. Shortly after releasing his debut 12" he's back to share a 10-track LP recorded sometime during 2017. Psychedelic cuts from different moments and places, precisely reflecting his state of mind and inquisitive nature. Mateis develops an original technique based on the usage of subtle synthesis, drum-machines, field recordings and acoustic instruments, including his own percussion and bass guitar. Hope you enjoy : )