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Taking advantage of his first Japan tour, Ortella is back with a strong EP rich in styles. Believe is mixing memories and fantasies, each track gives a deeper journey with a panel of emotions and feelings, keeping the french man own solid base with dance-floor oriented drums and enhancing them with some cosmic trippy loops, a very special romantic mood and a drop of acid : the perfect formula for evasion. Dancing is great, tripping is better!

New House & Trance/Techno 12 inch ! 'Paradisia': a powerful piece of piano House'Aegiali': a dreamy Trance/Techno track 'Merveille': an uplifting and ethereal House song

A - 45 rpm - cozy - Get Used to Me'
An emphatic anthem from the mouth of a young woman with something to prove, this track is a bold first statement, both in production and lyrical content. With this track on wax, Im gonna be around for a while, so you better Get Used to Me!

B1 - 33 rpm - cozy - Useful'
A piece created by someone tired of being underestimated, Useful might come from a place of frustration, but overall its a reclamation of power and agency. You havent been utilizing my ability to its greatest potential'

B2 - 33 rpm - cozy - Hip Hopity'
A funky closing piece to this EP, Hip Hopity just wants you to shake your thang around! Encouraging those of all dance ability to move their body and have a good time with their friends.

cozy is a songwriter, rapper, producer, and musician who currently operates out of Vancouver, British Columbia. Originally hailing from the small village of Cumberland, cozy has small town roots that have heavily influenced her art. With her music, cozy hopes to bring people into her world of experiences and give them as clear a picture of her perspective as she can. Throughout her songs, cozy weaves strong lyrical themes of femininity, sexuality, and reclamation of personal identity within a vulnerable context of self examination.

o Mirage is the 3rd full-length album from Chicago cinematic-rock trio To Destroy A City.

Limited Edition 180gm Oxblood LP w/DL/Gatefold CD.

This follow-up to 2014's post-rock paragon SUNLESS has an added immediacy due to the soaring nature of guitarist Michael Marshall's step toward the mic. Yes... There are vocals! Post-rock for the most part, has mainly utilized vocals as a texture or afterthought. Yet, To Destroy A City have adeptly included vocals into their cinematic tapestries with ease, and in the process added another layer of melody, modesty, and a surprising sense of hope to their already affecting guitar-driven compositions.

There is an air of instant grati- fication with Go Mirage. It seems to push you forward to the next horizon, much as its title might suggest. Idealists might bark that To Destroy A City can't continue to fly the post-rock flag with such a vocalic album.

The enlightened will find that the addition of vocals places the band as contemporaries to artists such as Caspian, Mogwai, and Album Leaf which have effectively used vocals as key components in their music.

Wex presents the third release from its sublabel, Ahaad. The mysterious Akasha Chronicles debuts his EP, Akasha. Deep, heavy and moving, these tracks are for the mind. Limited pressing on 180 gram with Photography by label founder, Marco Malpeso.
Support from: Janeret, Christopher Ledger

* In his first release for Milan's Haunter Record, Berlin-based producer Broshuda generates simple yet complex emotional vignettes. Evading all definitions, he makes use of an an array of tools and techniques akin to those of classic dub and contemporary sound design on obscure/ random equipment, drawing from a limited pool of sound sources while paying a lot of attention to detail in the construction of sound. His post-rave power ambient poems, coalescing with a pronounced melodic element, give the release a profoundly introspective and earthy character. Blurring and masquerading different layers of sound into new forms and shapes.

* Taking its title from a Minoan legend that deals with rage, greed and destruction, the latest release from Abyss X expands and reconstructs conceptions of aural space and time. Out on February 16 on Danse Noire, Pleasures of the Bull finds the multi-disciplinary artist and producer flirting with the sounds of hard jazz while mystifying the parameters of experimental music across several distinct movements, thus allowing the listener to break free from their sonic principles.
* Intoxicating, ambient textures mesh with Abyss X's own expressive vocals, as well as the sounds of the traditional Cretan lyra, played by Maria Skoula. Her sound modification creates a collage of temporalities - allow yourself to move outside linear dimensions, and her to confide in you. Prog rock guitar lines twist stolidly beneath warped vocal samples, and the timbre of the bowed lyra permeates the atmosphere in a thick, suffocating haze.
* As the listener travels through space and time, so too does the artist. Abyss X delves into the fullness of her craft, drawing from her background in theater and performance, in addition to the frenzied energy of her live shows as a musician. The music throbs with a frantic yet unmistakably deliberate drama. Pleasures of the Bull feels like a gentle punch in the gut; a compelling auditory performance and a bold exploration of the narrative album format.

After three years of silence our ownTerje Bakke is finally back in full effect with his first output on SHY. Excitement in the SHY camp Very much so!

Portuguese artist Ka§par gives Parisian label Escapade its third release. The four tracks span across a wide range of electronic sounds, telling a story that calls on many emotions. 'Wail Of A Loon' opens the record with an experimental atmosphere. After this laid back introduction, Ka§par goes into a much stronger style: 'Rigged's energy and catchy, twirling melody make it a total banger. On the B side, the mood gets much warmer and groovy. 'Vital' is the perfect tune to warm up a dancefloor, thanks to a swinging rhythm, mesmerizing vocal samples and funky synth lines. 'Alma D'Ouro' rounds up the record with strong jazzy vibes. Beautiful chords and piano solos never dissapoint!

Das norwegische, in Berlin lebende Electro-Pop-Duo Soft As Snow, bestehend aus Oda Egjar Starheim und Oystein Monsen, präsentiert mit "Deep Wave" auf Houndstooth sein Debütalbum, co-produziert von WIFE (Tri Angle Records). Die 13 Tracks bestechen durch einen frischen, originären und innovativen Leftfield-Pop, inspiriert von Cabaret Voltaire, Throbbing Gristle, Detroit Techno, 1990er IDM, Fever Ray, Cold-Wave und den 1980er "Mutazione" Compilations.

The 5th release from Caph comes from our good friend DCP. We hope you love it as much as we do.

Ghanaian music legend Ebo Taylor returns with perhaps his finest album to date.
But don't take our word for it. That's coming straight from the man himself.
And he should know after more than 60 years in the business.
The 81-year-old composer, arranger, guitarist and vocalist has been a key figure in the evolving afro-funk sound since the Seventies, working with the likes of Apagya Show Band, CK Mann and Pat Thomas.
Famously, he rubbed shoulders with Fela Kuti while studying in London in the Sixties, before going on to lead the Ghana Black Star Band (featuring Osei and Sol Amarfio from Osibisa) and later the Uhuru Dance Band back in Ghana. Like Fela, he is always pushing forward, constantly reconceptualising his sound and
attuning it for a new generation. Part teacher, part messenger.
Listen to Yen Ara and you will not only hear the high-energy afrobeat, sweet highlife, jazz and konkoma influences that he's famous for. There is also a disco pulse and hard-hitting percussive edge to the tracks, which were produced by Justin Adams (Tinariwen, Rachid Taha, Robert Plant) and recorded in the live room at Electric Monkey Studio in Amsterdam. An Ebo Taylor for these times, you might say.
His group, the Saltpond City Band, are all handpicked local musicians featuring two of his sons. An appropriate line-up on an album whose titles means we'.
And they are on fine form, ripping through tracks such as 'Krumandey' (a surefire party starter) and 'Mind Your Own Business' (a simple message delivered over a frenetic drum rhythm).
Elsewhere, 'Aboa Kyirbin' will please fans of tough afrobeat grooves, while Taylor could well be inciting a riot at his next gig with 'Mumudey Mumudey', We hear him calling for 'preshaaah' and leading us into a call and response as the trumpet takes us higher. And the lift of those horns on 'Ankoma'm' evokes some
of his finest work such as 'Love & Death' and 'Come Along', the latter recorded with the Pelikans and featured on a recent Mr Bongo reissue.

A selection of the coldest and most DJ-friendly cuts taken from the first of the 3-volume LP "Greatest Hits" by the Ron Hardy of Night Slugs, DJ Helix.

Four trax taken from Helix's Greatest Hits Vol 2 LP. Classic house, disco and ATL rap motifs reimagined as rough-and-ready nu skool Club trax.

The latest release on Francis Harris' Scissor & Thread label out of Brooklyn is another exercise in deep and meditative atmospheres. The label, comprised of a tight knit collective of multi-faceted composers, vocalists and instrumentalists, always strives to develop new projects based on a shared aesthetic, and this five track EP is both boundary pushing and fully synchronized with the label's approach. With Melquíades' 'Blue Caves' Melbourne based Composer and Sound Designer Alexander Albrecht presents his solo debut EP following on from the 'Tidal River' album he released as part of the Albrecht La'Brooy duo. The title track 'Blue Caves' is a skittering, weightless exploration of space, seemingly built around lush field recordings and fragments of melody developing out of the ether. 'Avlemonas' flows from a similar source, but crystallizes around an off kilter rhythm and occasional subby bass, balanced against swooping pads and piano motifs. 'Morning Breeze' seems to revel in the evocative nature of its title, with hand played percussion backing more wistful, emotive piano sketches and wandering bass notes, before the track settles into a hypnotic groove. Label head Francis Harris provides another take on the track for his Re-form version, a more dancefloor aimed excursion that draws deeply from the classic deep house of the New York and Detroit masters. Ending the relases is 'Patio', which drifts back towards the ambient territories of the opening tracks, with exquisite, understated instrumentation and a melancholic yet elated vibe.

JoeFarr and his label User Experience are pleased to welcome a very talented to the roster, Insolate. The artist formerly known as Miss Sunshine is a DJ, producer, label owner and promoter who has been in the business for 20 years and considered as one of the best techno artist's from Croatia. The two original tracks ride a perfect balance between groove, power and emotion. JoeFarr does what he does best and turns out a killer remix.

Fünf Jahre nach seinem Debütalbum "Ilp" meldet sich Kwes. mit einer neuen 6-Track EP zurück. In der Zwischenzeit arbeitete er mit Künstlern wie Bobby Womack, Solange, NAO oder Loyle Carner zusammen und mischte Kelelas Meisterwerk "Take Me Apart" ab. Die "Songs For Midi" handeln von aufregenden Entdeckungen und Erfahrungen in der Kindheit, und entsprechend fragil und sinnlich klingen die Sounddesigns dieser 6 Tracks. 12" Vinyl mit Download-Code.

LA's Private Selection imprint returns, this time to shed light for the first time on a producer from Argentina who goes under the guise of 'Crash ID'. All 6 tracks on PS003 are primed for the dance floor, touching on a kind of ritualistic, electro industrial body music that feels right at home with the labels current catalogue and event series.

Inside Out is a brand-new series that invites DJs and producers to blur the boundaries between traditional artist albums and mix compilations. Coming from Aus Music label head and DJ-Kicks curator Will Saul, the concept encourages artists to showcase their own music and or the music of those in their own individual circles. The mix will be release digitally and on CD, while a selection of the tracks will also be available on double gatefold vinyl.

Each instalment will feature 100% new and unreleased music. It is a chance for artists to take sole creative charge, A&R as they see fit and then commission brand new music specifically for the cause. Depending on who is at the helm, Inside Out will take different forms: producers may wish to represent their own sound with only music they have made themselves or with close collaborators, while DJs and label heads may wish to reflect the sounds and scenes that surround them. The results will be a window into an artist's world that works as a coherent mix, but also as a treasure trove of fresh new music that steps outside the usual lines of a dance album.

The idea stems from Will Saul's own approach in the club, which often finds him seeking out brand new and unheard music to play for the first time. That feeling of taking people into the unknown is one that reminds him of the energy and excitement of his early days as a dancer.

For Will's mix he enlists an array of artists who he's worked with over the years, many of whom have released on one of his labels in that time. These include the likes of Lone, Pearson Sound, Move D, Gerd, Youandewan, Martyn, Falty DL, Dauwd, Appleblim and Marquis Hawkes.

To celebrate New Flesh Records 20th release to date, French veteran DJ Umwelt (Shipwrec, Falling Ethics, Rave Or Die) returns to his own label with a mind blowing LP!

Built like the soundtrack of a dystopian movie where main characters evolve in a hopeless future, Sci-Fi Abandon In Place delivers no less than height cinematic masterpieces half-way between electro and ambient registers.

From the menacing sirens of opener Void Of Nothingness to the melancholic synths of closing Galactic Wreck, passing through the Blade Runnerish vision of Celestial Matter, this soulful album depicts nothing but the extinction of mankind in a ending world.

Besides its terrific message, Abandon In Place showcases the unlimited talent and incredible versatility of Umwelt, a mighty producer able to split from the most cutting edge music on New Flesh Records to a more radical, straight to the dancefloor approach on Rave Or Die.

A gloomy journey through apocalyptic tones, slow yet deep basslines, industrial touches, cold and un- compromising emotions! Umwelts most forward thinking opus to date sum up in once sentence: By the end of the day, all is dust.

All tracks written & produced by Umwelt

Mit ‚Outermost Edge' ist Alex Stolze eine eigenwillige Mischung aus Electronica, Indie-Pop und Neo-Klassik gelungen, ein hingehauchtes Album voller farbiger Details, das er ausgehend von seiner fünfsaitigen Violine produziert hat. Der Gesang erinnert dabei manchmal an die empathische Stimme von Erlend Oye.

Als Teil des Berliner Trios Bodi Bill hat er bis 2012 ganze Festivals zum Tanzen gebracht. Und vieles von dem, was Hörer schon früher begeistert und neugierig gemacht hat, zeigt sich hier in einer eigenwilligen Form von Schönheit. Einer Schönheit, die nicht eitel ist, die ihre Geschichten leise und eindringlich erzählt. Die Violine wird dabei oft nur gezupft, was dem Klang etwas Orientalisches verleiht. Was "Outermost Edge" neben einer großen Komplexität und Virtuosität auszeichnet ist die Haltung hinter der Musik. Das l'art pour l'art, das man auf vielen Produktionen zwischen Neo-Klassik und ambitionierter Electronica findet, ist Stolze nicht genug: Wenn es überall brennt, möchte ich das nicht ausklammern und einfach Wohlfühlmusik machen"

Breach returns with his first solo release since 2015 and with it a return to his roots as Breach. NKDLTD001 brings two deep, dark, moody tracks to the table plus a fantastic Mark E remix to boot.

Hidden Operator playing along to tribal drum music Exploring the outer limits of dancehall. In dub.

incl Cab Drivers Remix

The early 2000s were a time of upheaval for hip-hop. The underground and mainstream divide that had dened so much of the previous decade was showing the rst signs of irrelevance. Timbaland and The Neptunes made radio rappers sound futuristic while independent artists struggled in a quagmire of backpacks and misguided claims to keep it real. Away from this, in a misunderstood middle ground between hip-hop and electronic music, a new generation of artists were busy imagining a new sound for hip-hop.

One such artist was Scott Prefuse 73' Herren, whose perpendicular MPC chops on his 2001 debut for Warp Records set curious minds racing with possibilities. That same year Tadd Mullinix released his debut as Dabrye on Ghostly International, a sonic wildstyle that appealed to both hip-hop heads and IDM nerds. Sometime that same year Herren and Mullinix met after sharing a bill in Detroit. CD-Rs were exchanged and a year later Eastern Development, Herren's newly launched label, released Dabrye's Instrmntl, a short album with a big impact. On its fteenth anniversary Ghostly International is reissuing Instrmtl on vinyl and making it available digitally for the rst time.

Instrmntl is a continuation of the beat experiments Dabrye began with One/Three and a bridge to the diverse textures that would dene Two/Three four years later. About half of its nine tracks (ten if you lived in Japan) were created at the same time as One/Three while the rest were newer or made specically for the album. Once again Mullinix looked outside of hip-hop to techno, house, and drum & bass for stylistic and technical ideas while embracing the blissful minimalism of a good hip-hop instrumental and the rhythmic nuance of Detroit.

Despite the similarities between Dabrye's debut and this follow up, Mullinix didn't simply replicate what had made One/Three so arresting. He pushed and pulled further between the two cornerstones of his approach to reveal more potentials. Instrmntl takes you deeper into electronic depths — the rugged synth stutter of 'Won', the tumbling, wobbling bass in 'No Child Of God', the electro get down of 'Prospects (Marshall Law)' — while also treading more organic grounds by letting samples breathe and moods unfurl at a gentler pace ('Take Me Home', 'Evelyn', and 'You Know The Formula Right'). And then there are the moments where this push and pull nds balance and the result becomes more, as it does on the mournful march of 'D-Town Tabernacle Choir' and the twinkling daydream of 'This Is Where I Came In'.

At just over 30 minutes, Instrmntl offers a snapshot of a time when potentials seemed innite, when lines could be drawn between jazz, ragga jungle, techno, and hip-hop and the resulting shape divined an exciting future.

- Reissue of the out of print 2002 album, available for the rst time on Ghostly.
- Includes previously Japanese-only bonus track, Gimme Lowlands'
- Standard weight blue vinyl is housed in a matte jacket.
- Dabrye's beats are like Jay Dee getting crunked up with Autechre.' — Prefuse 73

It was chance that brought about the release of One/Three, Dabrye's debut album. Early demos were tucked on the B side of a cassette Tadd Mullinix passed to Sam Valenti in 2000 while working at the Dubplate Pressure record shop in Ann Arbor. Mullinix had spent the late '90s producing jungle, techno, house, hip-hop and more using the All Sound Tracker software as a primary instrument. Each style pulled from a similar sound palette as Mullinix used limitations to define the contours of di-erent musical personalities. Dabrye was his hip-hop wildstyle, a captivating collage of sparse instrumentals inspired by the laid back vibes of midwestern hip-hop and east coast boom bap, the futuristic funk of Umma-era Jay Dee, and the calculated subtlety of Detroit dance music. Released in 2001 as the first in an intended trilogy, One/Three announced Dabrye's arrival with an unavoidable contribution to Detroit hip-hop. Ghostly International is reissuing the album in 2017 for the first time, including a long overdue vinyl edition.

On its release One/Three was the rare album that appealed to both fans of Slum Village's smooth yet rugged hip-hop and enthusiasts of the distinct American IDM released by labels like Schematic. Over the following decade, the inadvertent demo submission turned into a body of work that placed Dabrye alongside innovators such as Prefuse 73 amid the cannon of a new generation of producers. Today, One/Three remains a concise and intriguing study in instrumental hip-hop that helps join the dots between J Dilla and Flying Lotus.

One/Three is a record that says much with little. There are no obvious hip-hop tropes. Instead Mullinix captures the ingenious minimalism of '90s hip-hop instrumentals to build tracks both supple and hard, joyous and melancholy, full of sharply angled rhythms and warm rubbery basslines: 'The Lish' throws a sickly sweet saxophone against digitally fragmented melodies, 'How Many Times (with this)' draws you in with an irresistible, clipped guitar groove, the rhythmic stutter of 'Smoking The Edge' makes your head spin with pleasure. Playing with his inspirations, Mullinix injects omitted downbeats for imagined rhymes and repurposes the intricacy of ragga jungle for breakdowns.

But what really defines One/Three is the rhythmic sensibility and metric modulation of Detroit's school of hip-hop production, which Mullinix was a fervent student of. The beats feel like they're constantly escaping a rigid tempo grid even though they are, in fact, pretty tight. A lot of it is nuance,' Mullinix explains. I've been known to say that I'm not impressed by spectacle. I think that nuance is what really captivates people.'

If you like your beats with a dash of class, do not miss this. An essential purchase of the highest order.' -BBC

- First time all tracks from the original 2001 release appear on vinyl.
- Remastered by Daddy Kev
- Standard weight black vinyl is inserted in to 3.5mm matte finish vinyl jacket.
- Download card includes free download of the Payback EP

- 180 GRAM AUDIOPHILE VINYL
- 33 MM SLEEVE
- LIMITED EDITION OF 750 INDIVIDUALLY NUMBERED COPIES ON ORANGE VINYL

Hot Shots Of Reggae is an recording on which a bunch of popular reggae songs are brought together. The album was originally released in the autumn of 1970 and compiled by the legendary Chinese-Jamaican producer Leslie Kong. He had enjoyed many hits in in Europe and selected some of the true pearls from the reggae music to shine on the album. The album includes the Maytals' hit Monkey Man, the sparkling So Much Love by Joe White and the fine rythms of Ken Boothe's Freedom Street.

The influential producer Leslie Kong once discovered Jimmy Cliff and recorded him on his own record label Beverley's. In 1962 he recorded Bob Marley's first single and through the 60's het became known as the producer of many big artists, like Desmond Dekker and Joe Higgs. He died of a heart attack, at the age of 38, in august 1971.

The album is now available as a Limited Edition of 750 individually numbered copies and comes on orange vinyl.

Olsen's first release on vinyl, surely not his last. Melodic, dreamy and understated.

Lossless' first offering in 2018 comes courtesy of co-founder Mathias Schober. With his 'Continuing EP' Mathias' definitely continues what he has started with his recent 'Certanities EP' on Optimo Trax. The EP is a true reflection of Mathias' constant approach to push the boundaries and merge his influences to draw a coherent painting. In this case the drawing is consisting of three truly unique tracks.

Tim (aka Jean Marie Tiam)and the sadly departed Maurice Foty who died in 2011. The musical cousins hails from Bafoussam in Cameroon. Their signature vocal harmony sound may be the first thing you hear, however they also have produced a host of funkiest African funk around. They sing in their native language Ngomâlah, as well as Duala and English.

We start the album off slowly with the scene-setting and largely instrumental "Douala By Night". Tight guitar and choppy clavi drive this song along. The groove is so deep even Missy Elliot couldn't resist a cheeky sample. "Funky Bafoussam" carries on the theme and expands it to include a kick-ass horn section. "More And More" is next and here the vocals burst forth over this up tempo punchy pop-funk track. With "Love Is Light" the pair show their versatility with a smooth English-sung soul ballad.

The hopelessly upbeat "Aie" is next with its earworm keyboard riff, slice guitar and catchy falsetto vocal. "Not So Bad" brings on the boogie. "I Love Yaounde" is a smooth swinging boogie-ballad with a killer chorus hook. "Eda" is a hit from early in their career. We close of the comp with the disco funk of "Funky Boogie Love" and synth grooves of "Eya Mba".

The songs on the comp represent only a 2 year period but some of the finest from the duo. These days Tim keeps the Tim and Foty flame alive. He currently lives between France and Cameroon. A musical flame that most definitely is burning bright.

Meditative and off-kilter, Dubkasm's new 12' is, unsurprisingly, completely unlike any other tune out there, and pays tribute to a toofrequently overlooked part of reggae tradition: dub poetry. Originating in a collaboration between Dubkasm and their long-time friend, Norway-dwelling heavyweight bass guitarist, Bajan Steppa, Enter the Gates is a discomix built on a tuff bassline, skittering drums and retro synths, and features reflective, courageous lyrics about the enduring power of Black liberation movements and consciousness, from Gloucester vocalist Rider Shafique. The B-side contains an upfront instrumental cut, followed, in true Dubkasm style, by a collaboration with a musical titan. Mad Professor's incredible dub flips the original into a propulsive soundsystem killer, retaining the tune's heart and spirit, but driving and percussive where the original is deep and soulful. (Paul Lee) Mastered on to 1/2' tape at Stardelta Studios, and pressed on 180g vinyl. Sleeve design by Studio Tape-Echo.

Serious Hard Techno kicker. Dark and dangerous beats finishing ona very cool hardcore 200 Bpm old school industrial tune. Massive EP ending on a Scratsch Tool skipproof.

Hardcore oldschool from Armaguet Nad, with some quiet mid-tempo surprises for a change

*2017 repress, New Artwork* A remarkable follow-up to a timeless album that shows the band taking greater risks in songwriting and playfully experimenting with production techniques.
This album is Witch's stunning swansong before the fast-changing music industry and political environment in Zambia took its toll on the group. Again rooted in American FM radio, from soft rock ballads to boogie, this album sees the group embrace their Zambian roots to a greater degree, which is reflected in the rhythms and even the title of the album. This time around Patrick Mwondela pushes his synth work and electronic production to a whole other level. Kuomboka is the unforgettable last voyage of this legendary band.

In the vapor trail of How Does It Make You Feel,' the first track on this self-titled full length, one can smell the burnt ozone of a seventies-full-orchestra-nebula-pop-odyssey, the flakes floating down and landing like snow, giving grave-chills ... the ash of a masterpiece pop song. Once And Future Band: this incredibly accomplished cabal of total prog wizards has circled the earth, but then, these are the accomplished gentlemen of many former pursuits (the formidable Drunk Horse among them) and all of them comets themselves.

The very mid-'70s vibe at work here surpasses pastiche, and crests that lovely anachronistic conceptual peak: a fully realized and meticulously arranged psych record, meant to be listened to from top to bottom, with the lights down low and in a comfy chair perhaps, or while gazing out the window of your life pod. The Dark Side of the Moon feel, with shades of early Yes's technicality, a dash of Steely Dan's vocal prowess and effortless sheen, and some seriously outsized hooks that call to mind the mighty ELO, Le Orme and, yes, even the unsinkable Queen powered on Brian May's tape echo jet fuel and sequined power cells.

This is a head record in the classic sense but utter fealty to The Dark One insures both being trapped and infected by the pop-parasite. That it is largely self-produced (with tracking / engineering on three of the songs by Phil Manley at El Studio) makes it all the more jaw dropping. Making prog cool again, again, and then slightly more complicatedly, again.

Rudy returns to Faze Action Records with an all-new collection of atmospheric and evocative tropical sounds. Last August saw the release of the By Nature EP that encapsulated the steamy and exotic textures of the Balearic sound.
This time, Midnight Safari takes up where on the beaches of Formentera, where the last EP left us. This time setting sail on a Midnight Safari with Marimba's and chugging rhythms underpinning sophisticated Piano' melodies. Following this we drop anchor and appreciate the evening breeze of In The Air with its haunting 'Cello, endless drifting arpeggio's and tropical percussion with a hint of North Africa. Reach Backless points the way squarely to the dance floor with chunky drums and synth bass, synth hooks galore and that piano solo that launches into starry evening skies. It's back down to earth with the settled quiet bass guitar harmonics of Windchimes before heading into the more soulful and synth melodic territory of Solar Plex.

Emotional Rescue delves deep in to the past with the release of the first ever recordings by UK post-industrial, ambient pioneers O Yuki Conjugate (OYC). Recorded in Nottingham in 1983, the EP's four tracks showcase OYC's early sound: a beat-driven, lo-fi that places them alongside the early British electronic pioneers.
OYC, celebrating their 35th anniversary this year, are known for their "dirty ambient" sound - but it wasn't always thus. In their earliest incarnation OYC explored a more industrial approach characterised by tortured analogue drum machines, one-finger synth lines, played bass, tape loops and even flute. This naive sound template lasted until their debut album 'Scene in Mirage' (1984) before being jettisoned in favour of more ambient explorations.The story behind these recordings is one of brotherly love between bands. OYC swapped time in their rehearsal space for a day's use of a four-track cassette portastudio owned by their associates, Metamorphosis. Three of the tracks included were recorded on May 1st 1983 at The End Room (literally a studio at the back of one of OYC's parents houses) with the remaining track (live favourite "The Clattering Song") being produced a couple of months later.
To date OYC have remained largely unknown in the UK due to their wilfully obscure approach. They have released a series of very well regarded studio albums and innumerable spin-off and side projects that has recently seen a revival of interest in their early years, including appearances on Cherry Red's compilation of formative UK electronic scene 'Close to the Noise Floor' and Optimo's compilation of Fourth World-style music 'Miracle Steps'.
Accepting their fate as musical outsiders, OYC continue to make music with little reference to the wider world. This EP makes a fine addition to that body of work.

The third release of WPTMWL collective will focus on the two young resident djs: Luminer. Deep influences, dubby house and Detroit are the essential ingredients of the EP, along with two amazing remixes.. The Icelandic techno legend Thor - widely-known for projects such as Sanasol, for its historic Thule label and for its recent reissues released by Sushitech. And then Hiver, resident djs of Dude Club in Milan and leaders within the famous Curle Records, coming full circle with their remix with break and acid influences. Don't miss it.

Seb Wildblood returns to Omena with an all star cast remixing tracks from the mini-album 'The One With The Emoticon' released on Omena in 2017.

Phonogramme is happy to welcome Neuronphase from Lithuania to the family. Beautiful Deep House release, fully completed by a remix from Detroiter, Patrice Scott !! (Sistrum Recordings).

Originally issued in 1993 as a CD this is the finally coming out Vinyl Version !! yeah !!

Dead on the Dancefloor effect... Borbonese Qualk album on Praxis and the discover of the undeground. An after effect of the Dancefloor RAVolution of the 90's. At least Praxis decided to finally press this msuic, this document, this crime... on Vinyl !! This is a real event in the music history to my point of view... So dance !

For the first X/OZ release of 2018 we have brand new material from Russian musical prodigy Nikita Zabelin. His first release in two years, Nikita brings us a fresh take on minimal techno with a breadth of styles and approaches to the genre. Previously releasing on Nina Kraviz's Trip label this will be Nikita's X/OZ debut. This release, Trans Siberian Express also features a remix by label head Exos, thus combining the forces of both artists to create the Russian/Icelandic collaboration of the year.

"The enigmatic DOKTA returns with 'London Nights' the third single taken from his forthcoming album -'Metronomic'.
DOKTA has already received support from Seth Troxler, Laurent Garnier, AME, Maya Jane Coles, Archie Hamilton, Mano Le Tough & Damian Lazarus. London Nights is the sound of DOKTA at his best - real musicians and live parts are intricately woven together in ever evolving arrangement. The piece starts with a moment of orchestral bliss before heading directly into a low slung rumble of bass frequencies and tight drum programming, complimented with trippy vocals. London Nights sees remixes from Constant Sounds founder and One Records regular Burnski taking it straight to sunrise at Panorama Bar, providing his trademark groove and euphoric pads. Complimented by a stripped down slice of dub techno contributed by Ralph Lawson, similar to his recent Lost in Time dub production with heavy bottom end sub and heavily worked poly rhythms, as well as Alden Records' Jason Heath, completing the package with a beautifully orchestrated string version.London Nights is out on 26th February and the album 'Metronomic' is out 26th March.

DsorDNE (pronounced Disordine) is a project from Torino, Italy that evolved as group out of the electronic experimental post punk project Novostj in 1987. At the core of DsorDNE is Marco Milanesio, musical engineer and co-founder of the HAX record label, joined by a revolving cast of musicians. Their spectrum ranged from experimental to structured electro-poetry and Soundtrack like instrumental electronic music. In 1987 they released their first track on a split-single with The Legendary Pink Dots. Between 1987 and 1994 they released 6 full length albums, 3 split-EPs and appeared on various cassette compilations. à Un Sole (Itâs a Sun) was the groupâs only vinyl full length originally released in 1990 on HAX. Itâs 8 tracks of electro-beat poetry and experimentation recorded between July 1989 and January 1990 by Marco Milanesio (music) and Roberta Ongaro (vocals) with guests Claudio Burdese (guitar), Danilo Beltrame (guitar) and Cristiana Bauducco (vocals). The album is broken up into two distinct halves. Side A contains four chunks of hard hitting, percussive patterns and rushing bass sequences. Dark, moody female vocals force their monologues through the machinery in their native Italian tongue. The traditional song structure is carefully avoided by giving lyrics equal opportunities be they recited, half-sung, whispered or spoken. Side B displays moodier moments, less savage attacks and subtler sensuality, veering towards the more melodic and existential. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a black and white drawing with silver metallic spot color housed in a clear PVC plastic cover with a three color screen-printed design. Each copy includes a 11x11❠double-sided lyrics sheet with English translations as well an 8x11❠sheet with original press notes from 1990 by Marco Pustianaz.

Ever since the early 90s, The Mover has set the standard for apocalyptic melodramatic techno and has been praised as one of the leading artists of Planet Core Productions. His distinct tone and memorable production expertise, causes one to leave the world behind. In 2018 he returns with - Undetected Act From The Gloom Chamber', an album which implies all the goodness and fears he is renowned for. Eight masterpieces carrying the authentic excitement that you would expect from the Mover in a timeless fashion. Shifting between electro beats and classic old school techno patterns, the album sets a moody tone. The release is filled with magnificent bass lines and dark-dreamy pads that leave the mind in a trance. Muscular drums and authentic synth-lines paired with the unmistakable Mover signature, makes this assembly of gems an outstanding masterpiece.

Riding the wave of the German beat craze of the early sixties, British singer Tony Sheridan became a regular on the Hamburg club circuit, recruiting an ever-changing roster of back-up musicians that included, in 1961, The Beatles featuring John Lennon, Paul McCartney, George Harrison and Pete Best. Although still very much on the scene, bassist Stu Sutcliffe did not appear on these sessions. While most of the songs here are covers sung by Sheridan, Lennon and Harrison did write the instrumental "Cry For A Shadow". Hamburg is also where the Beatles first picked up the mop-top. Picture disc LP.

Created at the footstep of Mount Victoria, Groeni wanted to challenge themselves compositionally and sonically with Nihx. Nihx explores the characteristics of points of conflict between opposing forces. As in the past, and as with many electronic outfits, the music had been written 'in the box', so to speak. To counter this technique the three members of Groeni (Al, Mike, and James) each wrote numerous compositional sketches that were more or less complete as frameworks before entering them into the digital realm. With similar inspiration the band wanted to create unique and personalised sounds away from the computer to sample and use with most of the sonic treatment happening also away from the computer. The vast majority of the drum sounds are made from samples of Mike's ever expanding synth collection, numerous sounds are manipulated feedback from guitars or vocals among other things. The entire record was written and recorded across three home studios in Wellington, NZ and has been almost 2 years in the making.

'Nihx' comes out worldwide on limited black, white marbled vinyl (including download code) & digital.

Following on from his debut EP on Drumcode earlier this year, Ilario Alicante returns.For the past few years Ilario Alicante has enjoyed something of an unintentional Ibiza kinship with Adam Beyer. When the Swede played his special annual sets on the Amnesia Terrace for Cocoon, for three years out of four, the Italian has been right there playing alongside him, ensuring his talents were on the radar of the Drumcode chief.

Ilario made his first appearance on the label in 2016 with the stirring 'Temporary' featuring on A-Sides Vol.4, before securing his first full-length release with the 'Awakened' EP that dropped earlier this year. 'Figures & Echoes' deepens his contribution to the label with half a dozen powerful cuts.

'Figure of RA' opens the EP, combining a rousing vocal loop, pulsating beats and effective melodic interlude to fantastic effect.
'The Acid Runner' follows and is true to its name, characterised by echoing vocal effects that lead to a piercing 303-line that hits with peak-time power. 'Virgo's Echoes' features a persistent synth line that combining effectively with lush layers of melody to create an atmospheric impact. 'Third Eye' delivers an exhilarating dose of rave thanks to the hypnotizing riff that runs throughout.

The latest work of Keita Sano's MAD LOVE Records is a 12 inch split by up-and-coming musicians: Daisuke Kondo and Keita Sano. They hail from Okayama!, the alternative dance music label "MAD LOVE Records, and continue to release good quality music one release after another. The fourth release features Daisuke Kondo who is part of a new generation of producers from the same town as Keita Sano.

Malina Moye, die vom Guitar World Magazine als eine Musikpionierin und eine der besten Gitarristinnen gefeiert wurde, hat für sich eine eigene Nische in der heutigen Musikszene geschaffen - als eine von nur wenigen Künstlerinnen in der Geschichte, gelingt es ihr, den Graben zwischen Rock und Soul zu überbrücken. Darüber hinaus ist sie eine der führenden Gitarristinnen ihrer Generation. Moye hat "das Talent, das Aussehen, die Energie, einfach alles", attestierte die Huffington Post. Das Seventeen Magazine konstatierte: "Auf der Bühne liefert Malina eine berauschende Mischung von Funk, Rock und Soul ab." The Examiner erklärte Moye zu "einer der besten 10 U.S. Independent-Künstlerinnen" und das Billboard Magazine nannte ihre Zusammenarbeit mit Bootsy Collins "explosiv". Hier kommt nun ihr neues Album "BAD AS I WANNA BE". Eine bärenstarke Sache!

- Vinyl (schwarz/180g/Direct Metal Mastering)

Das erste Album von Chris Carter seit 17 Jahren! Als Gründungsmitglied von Throbbing Gristle - gemeinsam mit Cosey Fanni Tutti, Peter 'Sleazy' Christopherson und Genesis Breyer P-Orridge -, spielte Chris Carter eine signifikante Rolle in der Entstehung elektronischer Musik, eine Reise, die Carter als Teil von Chris & Cosey und Carter Tutti respektive Carter Tutti Void und in seinen Soloarbeiten bis heute fortsetzt. Die Verknüpfung von traditioneller Musik und Elektronik sind jene Momente, die die Musik von CCCL Volume 1 an das Schaffen von Throbbing Gristle rückbinden.

If you are looking for raw, psychedelic hard-rock, look no further! We present the complete recordings (1968-1972) from Wicked Lady, the legendary UK underground power trio leaded by ace guitarist Martin Weaver, later a member of Dark on their "Round the edges" album.

Here's the first volume of our Wicked Lady collection, both a CD version and a lavish double vinyl of "The Axeman Cometh". Our edition features new artwork and liner notes by doomy psychedelic guitar God in person, Martin Weaver, who tells the real (and bizarre!) story behind Wicked Lady for the first time. The stuff of a legend, this is a real fest of fuzz, wah-wah and heavy riffs that will blow the mind of any hard-psych collector.

2025 Repress

On 7th August the godfather Mike Dunn presents an EP fuelled by a pumping heart of pure house, entitled 'DJ Beat That Shhh' / 'Move It Work It'. Taken from his forthcoming album due for release in October 2017.
Both tracks capture Mike's essence, placing his trademark hip house booty style vocals and stripped-back, jacking drums centre stage.
'DJ Beat That Shit' is classic, bumping 90s Chi goodness updated with modern technology, whilst 'Move It, Work It' is a no-nonsence smoke and strobe throbber, that recalls the best of Trax and DJ International.
For anyone who knows their shit, Mike should need no introduction, but for those that don't, he was highly influential in birthing the modern day dance music phenomenon, especially with tracks like 'Face The Nation', 'God Made Me Phunky', 'Let It Be House' and 'Personal Problem'.
Mike created hip house, DJ'd with fellow legends Ron Hardy, Larry Heard and Armando Gallop, produced for house heroes Armando, Fast Eddie and K-Alexi Shelby, and worked with the iconic voices of Byron Stingley and Kym English.
After a long absence from DJing in Europe, Mike returned in 2015 to rock crowds at Panorama Bar, Fabric, Concrete, Sub Club and Glastonbury, demonstrating why the Chicago OG is still very much in demand.

A double album of dirty, raw, bone-grinding Techno from post apocalyptic survival times by Franziska Lantz released on Global Warming Records, London 2017 Loaded with heavy distortion, fat textures, harsh beats, relentless rhythms, moody synths and erratic melodies, this sound is bursting with rawness and urgency. Harness your speakers and dance!

Label head Enzo Siragusa teams with Ibiza resident Nima Gorji for the slick 'Foreal EP'; the original mix (VINYL ONLY) rolls deep, building nicely with a warming pad whilst subtle tripped out sounds flicker throughout the mix. Djebali offers up more of a bassline friendly mix on the flip whilst Fuse mainstay Seb Zito dusts it down with a phatt kick drum and ups the PHUNK on his version.

"The more I hear this the more I'm loving it. As a starter while we wait for the main course which will be the album this is just perfect."Craig Charles on S.T.A.Y. (feat Eric Boss)

"It's fabulous and it sees the return of one of my favourite UK vocalists - the pocket rocket that is Gizelle Smith" - Craig Charles on S.T.A.Y. (feat Eric Boss)

"such a powerful singer...a real british soul talent" - Eddie Piller (Acid Jazz)

Radio support:

BBC 6 Music: Craig Charles - 'STAY' (25.11.17) (2.12.17) (9.12.17), 'Sacred of Something' (13.01.17)

KCRW (USA): Garth Trinidad - STAY. Jazz FM (UK): John Osborne - Sweet Memories'

3Fach (playlisted), Delite (playlisted), Mi Soul , NTS, Solar, 1BTN, Radio Krimi, Ibiza Sonica, Radio Pepper, Republic 100.3, Kane FM, WUTK 90.3, Juice brighton (playlisted) , Colourful Radio, Crackers Fresh, Radio Cardiff, Starpoint Radio,

DJ: Felix Da Housecat, Benoit C, Yamwho,Doc Scott, Basement Freaks, Dom Servini, Mat The Alien, All Good Funk Alliance, Marc Hype

This EP shows the musical development of the past 2 years in which KAUW has translated their live sound to studio recordings. It's made with the intention to work well for the club, while all of the live elements such as acoustic drums and bass guitar are on the foreground of the tracks. It's important for the band to show the energy of their live shows in the record. In this way, this EP is a switch from the more funky, live first record (which suggests the electronic side) to this EP which is on the crossroads of live music and produced House music.

The A side featuring 'PITCH' is a bit darker and a real dancefloor killer. Hard synths, deep bass, clear drums and an intense dynamic in which you're taken on a Kauwjourney to which it's unable to stand still. The B side featuring 'Nergens' is more funky, light and sweeter with beautiful synths, funky basslines and groovy drums, inspired by the mix of '90's Disco and House. San Proper's remix takes this funky track to a real Proper-world with beautiful guitar melodies, deeper basses and extravagant vocals.

Digipack, 4C print w/ solid color. Cover artwork expands over all pages, liner notes inside.

2 x 12", silver grey vinyl

5 1 1 5 9 3 is the first full-length album release of Vienna based artist Electric Indigo, who started DJing in the late 1980s, worked at the legendary Hard Wax record store in the early 1990s, and effortlessly manages to entertain the dancing crowd at Berghain as much as the contemporary music avant-garde at Wien Modern.
5 1 1 5 9 3 combines influences of both worlds into a consistent and coherent album. Crystalline metallic objects collide, embedded into fractured endless spaces, sparse rhythmical syncopations shaping grids, holding sonic particles in place. Rare vocal transformations inject a human touch. 5 1 1 5 9 3 offers a unique universe, full of color and light, partially flirting with current club music and at other times diving deep into sublime sonic areas.

Aroop Roy has been making waves with his unique sounds for the past few years, with a wealth of successful releases and a busy gig schedule at the helm of some of the best clubs around the world. By fusing elements of Jazz, Afro, Latin, Funk and Soul with the deeper end of House and Disco, Aroop has forged his own style with EPs on revered labels including G.A.M.M, Basic Fingers, Freestyle and Lazy Days. For his Delusions Of Grandeur debut he pulled out all the stops, delivering three original tracks which further show his diversity as an artist and ability to produce left of centre, quality underground music without losing sight of the dancefloor.

Things kick off with Save Our Love, a track that's absolutely brimming with energy thanks to punchy Wurlitzer chops, tension-building Philly strings, and a rock-solid disco groove.

Next up we have What I love which sees Aroop take an altogether more freaky approach flipping an uptempo rolling break, distorted synth line, cross-rhythm stabs and rasping vocal cuts into an edgy dance floor workout.

Closing this brilliant EP is the low-slung bump of Walk That Walk featuring original vocals from Oakland, CA based Blacktroniks who delivers his flow on top of a bass-heavy slice of deep electro boogie.

Gqom Oh! records presents "The Originators", a five track EP respresenting the past, the present and the future of Gqom - the thunderous club sound from Durban, South Africa. The Gqom Oh! label was set up by Rome-based DJ and musician Nan Kolè to highlight the music and artists of Durban, the often overlooked cradle of the new South African sound. The label's 2016 compilation - 'Gqom Oh! The Sound of Durban Vol.1' - broke the sound out of South Africa, Pitchfork calling it The largest and most thoughtful survey of the genre available to western audiences to date'. Recently joining Kolè is Sboniso Brandon Luthuli aka Citizen Boy on the ground as local A&R. The EP's A-Side is dedicated to two of the genre's most prominent producers. DJ Lag is a frontrunner in pushing Gqom worldwide. Making music from a young age and building up a solid reputation in South Africa, he's known as the "King of Gqom". Griffit Vigo, a real innovator in the Gqom genre, grew up in the same area as DJ Lag and has attained a legendary status amongst his peers. "When I was in Durban the first time I noticed that Griffit Vigo was a kind of legendary figure, he'd been inspiring all the Gqom Durban artists for a long time. Nobody knew where he was but everybody was playing him and sometimes using his beats to make new songs. The main track 'Ree's Vibe' was the peak moment of DJ Lag's sets all over the world. If Lag is the Gqom King then Griffit Vigo is the Gqom Legend."- Nan Kolè. Sbucardo is one of the most respected DJs around the streets and the townships of Durban. Featuring Abnormal on 'Iphoyisa', whose lyrics in Zulu translate to We at the club, Mr police man don't disturb us", the track represents the South African scene and Gqom culture in Durban very well. Naked Boyz (officially the first in Durban to explore new territories in broken beat in 2011) 'Story Teller' is characteristic of the Sgubhu style, a blend of Gqom with more conventional house sounds, the new genre taking over Durban and finding its way onto mainstream radio. Scene kingpins Rude Boyz round off the release's line up of Gqom originators with 'Umshunto'.

"Real name Takeshi Fukushima, Takecha has been a key figure within Japan's electronic music scene for decades and belongs to the same pioneering crew as Soichi Terada and Shinichiro Yokota. Now in his mid- fifties, 'Deep Soundscapes' is an album encompassing Fukushima's sound with every track written by the producer between 1990 and 2013. Intricate percussion and crystalline chords set the tone in 'Deep Drive' before a funky bassline joins serene synths in 'Midnight Things'. Appearing in Soichi Terada's mix for Resident Advisor (under its promo title 'Deep Loop C'), 'Gradual Atmosphere' is comprised of a galloping beat and saccharine chimes, 'Factory 141' sees Takecha demonstrate a murkier aesthetic, whilst 'Rhodes Detox' is a definitive example of Takecha's flair for expertly balancing elements within his productions. An homage to Shufflepuck Cafe´, an old Mac Plus video game Takecha would play on a black and white 9- inch monitor back in the day, 'Shufflepuck' blends ghostly melodies with clicks, whirrs and pops. 'Calm Imagination' is a poignant affair from start to finish with its hypnotising atmosphere, contrasting to the more up-tempo 'Warm Rondo' with its soulful keys and purring low-end. Tying it all together, 'Genuine Innocence' is a cut that Takecha made two versions of; one with a solo from a pianist and another with more emphasis on the beat, the latter of which appears on this album."

Detroit duo Ataxia offer up their 'Kodak Moment' EP via Visionquest this March, accompanied by an edit from label co-founders Shaun Reeves and Ryan Crosson.

Eric Ricker and Ted Krisko aka Ataxia have been at the forefront of the contemporary house and techno scene for some time, racking up releases on some of the leading labels across the globe such as Leftroom, Nervous, Culprit and Play It Say It, making the duo one of Detroit's finest exports in recent years. Here we see them making their debut on Visionquest, the label of fellow Detroit natives Ryan Crosson, Shaun Reeves and Lee Curtiss.

'VHS' leads the package with murky synth swells, resonant synth sweeps and fluttering square wave bass tones at it's core as shuffled drums carry the ever-evolving hypnotic groove along. The original mix of 'Kodak Moment' follows, shifting the focus over to snaking bass lines, mind-bending, modulating synth whirrs and dynamic, choppy percussion throughout.

Reeves & Crosson's 'Edit' of 'Kodak Moment' then rounds out the release, stripping things back to ethereal atmospherics and shuffled drums whilst subtly stirring in the original's hooky bass groove as the interpretation unfolds.

Moss Co. kicks off 2018 with the 'Indivisual' EP from the supremely talented Mariano Mateljan. Mariano and label boss, Archie Hamilton have been talking about an EP on Moss Co. for a number or years, and it is a tribute to both of their perfectionism that it finally lands in all good stores April 6th.

Made in his home studio in Split, the record came together from several analogue jam sessions. Aimed squarely at the small hours, the deeply trippy and haunting tracks take influence from the micro house of the 90s; labels like Cabinet and Perlon and producers like Schatrax and Matthew Johnson.

The record is a fine example of Mariano's ever-maturing sound; timeless minimalistic house music that will cast a spell over dance floors the world over.

Montreal electronic duo Essaie Pas are back with their fifth album (their second on DFA Records).

Essaie pas always seek out fresh challenges. After all, there's a whole universe of sounds, sights, and new ideas to explore. Emerging from Montreal's sprawling electronic scene, the duo - Marie Davidson and Pierre Guerineau- feel completely free to express themselves, to sketch out hitherto unmapped musical regions.
Forthcoming album New Path takes this one step further. The duo's fifth album to date - and second on powerhouse label DFA Records -is loosely based on Philip K. Dick's A Scanner Darkly', a classic of dystopian science fiction.
I read the book a long time ago, maybe 15 years ago, and it had a strong impression on me,' explains Pierre. In our previous work we always looked to music as inspiration in our lives, but this time we felt the desire to try something different, that's not based on ourselves but on someone else's universe. It was going to be more conceptual, more political.'
New Path touches on personal ground, on addiction, loss, and the lingering strength of identity within late capitalism's mass media paranoia. It pins down the central character's destructive addiction, using this as a metaphor to explore the dichotomous rupture between our inner lives and our social environment, one that is often fed and soothed by drug abuse, social media, or any kind of dependence.
I think it touches us on many levels,' Pierre continues. We can talk about drug addiction issues, we can talk about the mass surveillance world we live in, but there's also the experience of loss, of grief. I was surprised by how the book felt so modern and accurate to the time we live in right now. Dick's visions of surveillance are the reality of social control today.'
It's a record that continually ties itself in knots, a puzzle that is outwardly beguiling while the solutions remain inherently allusive. As Pierre points out, it's even present in the title. I like the fact that it sounds optimistic, but in the book it's actually an illusion,' he explains.
But it's a challenge met with humour, picking up on the wry elements of Philip K. Dick's own writing - witness the subtle wit of songs such as 'Complet Brouillé', 'Les Agents Des Stups' or as in 'Futur Parlé's tripped-out lyrics, offsetting intense themes with something a little more playful.
The conceptual nature of New Path belies the subtle personal shifts within the band. A husband and wife duo, Essaie pas thrive on freedom, on parting to focus on outside projects in Montreal and Berlin before returning renewed, flushed with fresh inspiration.
Both personally and for Essaie pas it's good that both of us have separate projects,' he explains. Marie has been constantly touring solo for the last year. On my side I've been producing other people's music (Bernardino Femminielli, Pelada or Sleazy to name a few). Collaborating in the studio with talented people with unique aesthetics and different creative processes is really refreshing as an artist.'
The complexity of the project mirrors the complexities within Essaie pas' career to date - forever unpredictable, their wiry, individual sound offers a tangled vision of tomorrow's aesthetics. I think this was the main challenge,' muses Pierre. To adapt what we've been doing live, which before was always changing, and corner it, make it cohesive'.
Ultimately, what the duo want is a challenge, to be forced to raise their expectations again and again, to look continually to the future. This is cold music for cold times, yet beneath this lies a continual search for the humane.

The third release on MDRNTY REC comes from a longtime favorite and friend of the house: Mr. Guillaume & The Coutu Dumonts mostly known for his productions on Musique Risquée, Circus Company, Oslo or for his many other projects and aliases. ! Our fellow Canadian has crafted this Ep specially for us and we are happy to welcome him on the label. On remix duties we have Argentinian Ernesto Ferreyra (partner in crime with Guillaume in the project Chic Miniature). ! This release is a deep excursion into the groove of house and the hypnotic beauty of techno. It is designed for those late hours when everyone is dancing eyes closed, digging a little deeper into the moment. ! Modern Sublime is a long burner cinematic piece of music with it's guitars, epic vocals, drum fills and acid bass lines. This track has it all and skillfully drives the tension high as the story unfolds. ! Landing on the B side showcases a very different but equally hypnotic face of this talented and longtime celebrated producer, with it's arpeggiated melodies and lush pads Guillaume guides us to safe ground with this beautiful and precisely calibrated track full of emotions. ! Last but not least, Ernesto's remix reconfigures the rhythmical structures of Landing and masterfully transforms it into a peak time house gem, guaranteed to move any living soul in the dance floor.

90s soundsystem legend TNT Roots on his first official vinyl release (!) after years of dubplates and CDs sold through Ebay and Blood & Fire forums. Two new productions presented in classic 90s stylee with alternative mixes.

Dutch artist Mokona returns to Templar Sound for his third release on the label with 'Love in Restricted Areas', described as being set in a private laboratory complex deep inside a forest, recorded during the summer after long nights of medical research.

* 'Love in Restricted Areas' continues the lush and serene soundscapes explored on 2015's 'Breathless' EP, while mixing more club friendly tracks like 'Perfumed Steel' and 'A.N.G.E.L. Guard System' with the meditative as found in 'Heart Sync' and 'Natalie's Aquarium Lab'. With a strong cinematic feel permeating throughout, and having taken his name from a character of the manga xxxHOLiC, which explores Japanese mythology and culture, it makes perfect sense that a track like 'Cupid's Bow' feels like it could have been lifted from a Studio Ghibli soundtrack.

* Though hard to pin down to a single genre, Mokona has produced a beautifully layered record that is just as fitting for head phone listening as the chill out room.

The X Vinyl Series continues with label head Florian Meindl at the helm with the upcoming release Metaphysics. Synonymous with deep, dark techno, Florian does not disappoint with this 4 track EP, enlisting in demand producer and Rabe label boss Denise Rabe on remixing duties. Playing live with his Modular Synth set up, Florian began working on the concept for what would become these three original tracks while playing shows over the last month. The live jam character can clearly be felt in the first two tracks Metaphysics and Holomorphic Function. Florian's original Bell's Theorem has a deep melodic structure. With Denise Rabes interpretation, the track is contorted through some serious distortion pedals and broken beat to match her dark take on the synth line. The outcome is an impressive piece for one of those never ending nights in concrete walled rooms with oversized loudspeakers.

Darren Cunningham's eagerly~awaited new album is an adventurous, ultramodern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville.
Determinedly off~the~map and resistant to pigeonholing, Cunningham is an enigmatic and playful figure, citing Francis Bacon and Monet as inspirations longside Theo Parrish, Anthony 'Shake' Shakir, Daft Punk, 'binary codes and numeral systems', and The Avengers. He's a hard man to pin down - somehow a key player in the post~dubstep diaspora and yet not there at all - but everything comes across in his shape~shifting, richly textured music.
The South Londoner's acclaimed debut lived up to its name: a series of dreamlike sketches and ideas. For Splazsh the fog has lifted, the sounds are less submerged than before, but still sticky and close - a signature combination of exuberance and introversion, luminescence and puzzlement. Unconstrained by the formal cliches of the dance music he loves, Actress' melodies and arrangements are enthralled by their own genies. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like Get Ohn and Lost. A range of musical influences is redrawn, from speed garage (Always Human) to grime (Wrong Potion), with none crowned king. There is a reflectiveness - the ambient drift of Futureproofing, the radiophonic judder of
Supreme Cunnilingus - in amongst the industrial, synth~wave flavours of Casanova, and the stirring, stately Maze.
Actress has quickly and justly become one of the most respected names in the UK's new dance music underground. His own label, Werk Discs, has proven itself one of the most formidable and taste~making UK independents of recent times, bringing the world extraordinary albums from Zomby, Lukid, Lone and Actress himself. In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress, a substantial and eccentric work from a brave and coolly individual artist.
With international press interest gathering - photo features in Dazed And Confused, and Fader in the US, and a session with Wolfgang Tillmans for the cover of the German magazine Groove - the stage is set for Actress.

Latency 009, from Tokyo: four eerie, multi-rhythmic, bass-heavy excursions, with roots in abstract hip hop and the classic d&b of Photek and Source Direct.

'Rockin live ruff and tuff', this is the untrammelled counterpart to Dadawah, six years later in 1980, fresh from the Black Ark: free, rawly spiritual trance-music, a full-force nyabinghi freak-out.
The drummers are headlong and rollicking, thunderous and explosive. Even more so than Dadawah, the mix is ecstatically echoey, giddily dubwise without let-up. Ras Michael himself sings from the mountain-top, like he just don't care — at the top of his lungs, in voices, screeching like a bird — with the delirious abandonment otherwise owned in reggae by Lee Perry.
Amongst the uncredited performances swirled into proceedings, there are squiggles of flute straight from the Upsetters song-book, the minor-key organ stabs and abstraction of electric space-jazz, and sax-playing more attuned to the Headhunters than the Blazing Horns. (I Ya I in particular is a stunning fifteen minutes.)
This is the real thing, music without affectation. Pure reggae. Sun Ra fans should love it, anyone with ears to hear.
Prepared and manufactured at Abbey Road, D&M and Pallas, beautifully presented in rigid, old-school, tip-on sleeves, with matt-coated fronts and untreated-paper backs, 180g vinyl.
'These sounds are sounds of inspiration and love and culture to the universal benefit of mankind... So therefore meditate and stop hate.'
Very hotly recommended.

The Empire strikes back! Phi has dug deep into the Slovenian electronica heritage only to return with the 4th chapter containing three mid 90's unreleased tracks by the cult duo Random Logic. Once the pioneers of adventurous acid and techno sounds having released on labels such as Thee Blak Label and having played in legendary places like the old Ostgut Ton, Random Logic are no strangers in playlists by the braver big shots such as Nina Kraviz. Their signature acid melancholy and drive hasn't aged and syncs perfectly with Phi's growing sci-fi catalogue.

With his new album 'Trail Of Intuition' Danish singer and songwriter Jacob Bellens once again is shimmering somewhere in-between electronically influenced songwriting and synthpop music, using his characteristic voice to reflect on his life's journey. Since the age of five, making music means creating a parallel universe to Jacob Bellens. It's his very own space, where he can be himself and always retreat to, no matter what happens. Out of this universe the Copenhagen based musician has released numerous songs and albums with his previous bands I Got You On Tape and Murder, with side projects and features as well as a solo artist. 'Trail Of Intuition' is his fourth solo album and the second one that's internationally signed with hfn music. Unlike the songs for his previous release 'Polyester Skin", which he wrote mostly on piano and guitar before sending them to producer Kasper Bjørke for final production, Bellens wrote all the songs for 'Trail Of Intuition' on his computer. You could see him sitting in front of his laptop in coffee shops across Copenhagen, with his headphones on, letting the basic programming and pre-production of the songs become an essential part of the writing process. The final production was made mostly by Rune Borup, who he knows back from the I Got You On Tape days and his friend Lars Iversen (The Asteroids Galaxy Tour), with whom Bellens also had the band project Goblins. The new album is a collection of snapshots of the whole range of feelings for which Bellens digs into the pool of his own experiences.

Techno Album of the month March 2018 in Mixmag UK!

Central to the Israeli club scene, Deep'a & Biri have long been defying expectations even within a community they helped construct. Serving as resident DJs, activists and bookers for Tel Aviv's legendary Barzilay Club, the pair helped build a transcendent club scene. Hugely influential artists such as Robert Hood, Derrick May, Rødhad, Ben Klock and Moritz Von Oswald passed through the club, enjoying legendary crowds and what they could surely sense was a genuine air of anarchy, rebellion and unadulterated rave pleasure.

As the duo held down dozens of parties with dozens of DJs, there was no 'eureka' moment for their emerging sound; just a steady stream of brilliant, inspiring electronic music, much of which left an indelible imprint on the pair. Now based in Berlin, for Deep'a & Biri, things are much the same, even if the landscape and the city is different. Always rooted in the fertile ground between machines and emotion, on their second full-length LP, 'Dominance', the duo demonstrate their unique grasp of the sensitive, unfolding relationship between man and machine. Steadfast in their insistence never to remain in one lane in terms of their sound, 'Dominance' flawlessly segues between forcefulness and weightlessness. From beginning to end, this is not a record afraid to show its teeth with an uncompromising, instantly recognisable techno palette that kicks the foundations of any sound system with menace, anger and determination, particularly on tracks such as the dense 'Voltage' and pulsing throughout the more industrial flourishes of 'Ecole De Nancy' and 'Seeking Solace'.

Beyond these grittier, although never mindless, moments of authority, a sense of escapism and curiosity imbues the album. 'Alpha Cephei' offers the first hint of Deep'a & Biri's more wistful concepts, producing a smoke trail of twinkling electronics out of a smudged but distinctive bassline. That understated sense of emotional catharsis carries throughout, to be found between the complex-yet-familiar bells that drive 'Flow Diverter's' rhythm to a Detroit-indebted landscape that will surely instantly elasticate any keen dancers, while 'False Memories' offers big-room techno fulfillment with none of the character or sincerity removed for cheap thrills. Saving the most remarkable moments for last, the pair sign off 'Dominance' with the poignant and purifying 'Astral Trails', fusing an ethereal, ambient landscape with the more pronounced rhythms of their hardware.

The album's distinctive artwork comes from the studio of Jewish orthodox artist Avraham Guy Barchil, who forged a powerful connection with Deep'a, both was immediately drawn to 'weird atmosphere, amazing technique and emotions involved with his work'. Perhaps one of the most interesting painters from Israel, Avraham is known for his unique perspective, taking his inspiration from the Zohar - the foundational work in the literature of Jewish mystical thought known as Kabbalah. The ambiguous figures represent mystical aspects of the Torah (the five books of Moses), as well as material on mysticism and mythical cosmogony.
Ensuring their natural, conscious touch always remains at the forefront of this unapologetically machine-driven music, Deep'a & Biri have produced an album in the lineage of their heroes and greatest influences. Cerebral yet satisfying, deep yet always engaging, 'Dominance' both reasserts and evolves Deep'a & Biri's forward facing and singular sound.

"Shatterdome", cut deep across the whole first side of this record, is a no-prisoners-taken club workout that comes of surprisingly lightheaded with a pushing low-end and dusky athmo-stabs. "Lola T70" is a late night car chase on cyber-highway, reminiscing THX-1138 leaving everything behind in the classic George Lucas sci-fi film: A state of floating acceleration and melancholy. "Say Hi to everyone" is signature.

Here comes In The Dark Again 09! Please open your ears for five sonic adventures,
brought to you by the amazing sound explorers Moralez feat. Zombierella, Zak Famellos, Textasy, Night Caller and Vinilette!

Dara Smith from Lakker in brilliant form: six vividly evocative, dramatically uneven soundscapes, ranging tonally from beseeching tenderness to thumping, bad-minded bass, guaranteed to rock the house.