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SUMAC (Aaron Turner on guitar and vocals, Nick Yacyshyn on drums, and Brian Cook on bass) invests in the recursive exercises of chaos and control, which manifest on the band's second album What One Becomes. The trio's debut The Deal (2015) revealed a new side of Turner's combustible songwriting and guitar work, further expanding on his efforts in Isis and Old Man Gloom. On the new album (recorded by the prolific engineer Kurt Ballou of Converge, who has also recorded High on Fire and Torche), the trio has elevated the songs' complexities with a greater entanglement of velocity, density, form, and function. The results are a testament to the tour-honed collective intuition and technical skills of drummer Yacyshyn (Baptists), bassist Cook (Russian Circles, These Arms Are Snakes, Botch) and Turner. The music of What One Becomes requires that each player be attuned to the dynamics and the tension within the multilateral structures.

From the mind of VernoN comes the first release of Eupasia, a label that tells the story of a mythic world built under the ground by some undead worms that have gained human characteristics. This first EP evokes gloomy and misty ambiences, followed by electro rhythms and rough basses, creating tension and resembling claustrophobia feelings.

In ancient Rome, Consuls held two strategic roles: exercising authority over all the public affairs of the city and accompanying the legions in their military campaigns.

Lykos Records gave this role to Artist Laertes, born Gianluca Meloni. Ambassador of the sound of Rome, Laertes has been one of the pioneers of the deep-techno genre. After establishing in Italy as producer, live performer and mastering engineer, he exported his aesthetics all around the world.

"Titanomachia" is the title of Laertes' new work inspired by Hesiod's Theogony. The artist tells through aggressive and groovy sounds one of the bloodiest wars in Greek mythology, Zeus leading the Olympian gods versus Chronos and the Titans.

"Chaos" throws us into the swirl of battle. The repetitive sound of the synth bass sequence alludes to the sound of spears broken on shields, while pads and strings charge the entire track with tension. The narration continues in a daring succession of loops and hypnotic rhythms, with the second track "The Immortal". Strident bleeps and incessant percussions and rhythmic patterns characterize the progressive crescendo.

The description of the battle changes with Worg, who proposes his version of "Chaos". The story of the battle is entrusted to the evolution of lashing metallic effects that recall the lightning of the father of all Gods.

Psyk closes the chronicle of the epic battle with an adaptation of "The Immortal". The kick recalls war drums that galvanize the troops on battlefields. The artist evokes the heroic spirit with powerful and thunderous sounds.

Jamaica Suk’s 17-track, quadruple-volume ‘Uncertain Landscapes’ series continues with its second part, bringing five tracks of uncompromising cutting-edge techno.

NovaMute artist Nicolas Bougaïeff kicks off with the rasping sounds of ‘Nocturne 1’, a tense juggernaut of a track. Sheet metal textures clash up against eerie FX the most throbbing of kick drums, with a twisted, distorted feel to the breakdown.

Keith Carnal’s ‘Infringement’ injects rhythmic bleep patterns into its chattering percussion, creating an almost dubby feel that’s contrasted with an urgent energy. Well-timed filtering adds to the tension.

The warped wiggle of Helrad’s ‘Groove Addicts’ comes next, with intense machine energy filtering up from the depths. A manic cacophony of detuned bleeping creates a heavy, relentless feel over the succinct beat.

Insolate’s ‘Sanchin’ rocks a pulsating bass chug that underpins washed-out textures and synth delays, with rasping metallic sounds washing over the track in the second half while the shuffling percussion keeps ticking away.

Manuel Di Martino channels some classic Detroit vibes in the chattering clap & snare patterns and rolling groove of ‘Runout’. Resonant tones blip, loop and pitch-shift in hip-shaking fashion to give the feel of a classic Jeff Mills set in action.

The King & City label is the subject of three 12" reissues, starting with One Blood's classic Lovers Rock take of William DeVaughn's soul anthem, Be Thankful.

Taking the influence of reggae from the Caribbean diaspora within the cultural melting pot of 70s London, the birth of Lovers Rock, often-dubbed 'romantic reggae', is a uniquely black British sound, developed against a backdrop of riots, racial tension and sound systems.

A style suited to the London scene, it represents an apolitical counterpoint to the then dominant conscious Rastafarian sound and continued the soulful and commonly love-themed rocksteady style.

Active during the scene's peak, King & City was launched by Neville King and Lee Laing to champion the sound and alongside other producers like Dennis Bovell, created genre-defining hits.

Formed in 1979 One Blood was made up of the 5 Robinson brothers - Errol, Jerry, Lloyd, Trevor and Paul - and recording at the legendary TMC studios, went on to release two albums and countless singles.

Be Thankful pays homage to DeVaughn's original, with smooth vocals gliding atop tight drum and bass, vocal jumping up dub pom acapella to summer perfection. The tapes here passed to cohort Lexx, crafting a wonderful discodub that is all groove, expertly cutting back and forth...diamonds in the back, sunroof top.

DJ Lily returns to LILIES this August with the label's sixth release, featuring a collaboration with label partner Sailor Juul and remixes from Inhalt der Nacht and The Mountain Range.

DJ Lily launched the LILIES imprint in 2018 as a Techno focused sub-label of his BROR imprint and has since gone on to release five 12" releases of material from himself, Svagila, Sandra Mosh and Jor-El. Here the label continues with more material from Lily and introduces the debut collaborative material with Sailor Juul, who has now joined ship to run both Bror and Lilies alongside DJ Lily, the fellow Swedish artist features on the lead track here while more productions from the pair will follow soon on the label later this year.

"Bequem ft. Sailor Juul" leads, a high-octane 140BPM cut driven by menacing bass pulsations, dynamic drums, tension building resonance and murky vocal chants. Lebendig label boss and Monnom Black artist Inhalt der Nacht delivers his twist on "Bequem ft. Sailor Juul" next, bringing crunchy percussion, distorted synth sequences and airy pads into focus for a typically upfront workout from the Berlin-based artist.

DJ Lily's solo track "Safeword Tegnell" opens the flip side, fusing bubbling percussion, bumpy drums and 8-bit synth chimes throughout. Christoffer Berg returns under his The Mountain Range (Aniara Recordings) guise next to complete the package, the artist who is part of Robyn's band and was the synth programmer for Depeche Mode on the album Delta machine amongst other things delivers a truly unique take on "Safeword Tegnell", amusingly described by a friend as "Scooter meets Dopplereffekt at Tresor". Berg twists the original elements with psychedelic sound design, ever unfolding drum patterns and a mind-altering feel across its six-minute duration.

For the second instalment of Subaltern’s 2020 program, we welcome one of the scene’s best-kept secrets – Imajika. The three hard-hitting tracks take listeners on a sonic journey through tribal rhythms, punchy drums and immaculate sound design. Calling upon ancient forces, Imajika makes a powerful statement with the Stagger EP.

Stagger
Ethereal glass chimes sing in the distance underneath an airy pulse to create an eerie intro until the groove enters to break the tension. We are offered a moment to breathe before being submerged by staggering drums driven by powerfully persistent bass-waves. Playful dubby FXs, gritty wobbles and naughty drum fills keep the head nodding throughout this stomper. After offering one last breath, the second drop hits with a relentless grunt that leaves us gobsmacked and then proceeds to devastate any sub to cross its path.

Unti Pundi
Mystical textures set a ghostly tone, overlaid by the meditative ‘Unti Pundi’. We are whisked through the caverns of time - space is created through reverbs and echoes of snares and droplets. A sinister pitch-oscillating synth takes your hand and as Imajika takes you deeper down the rabbit hole. Evolving basslines and masterfully placed drum fills add new depth to this monstrous beat before a shattering second drop wreaks havoc - Imajika shows no mercy.

Inside the Sycamore Root
Foreboding voices whisper in a secret language, seemingly summoning ancient spirits in a circular tree-based ritual. A cataclysmic drop fused with a tribal rhythm and propels us deep Inside the Sycamore Root. The spirits have been awoken. A gnarly bass pulsates as calls of the wild and menacing laser-synth stabs respond to the ancestral voices. The summoning continues and takes us even deeper into the wilderness as rumbling bass and tribal percussion take over - the descent into the great unknown continues.

Josh Wink joins Ellum Audio for a stellar new single backed with a remix from DJ Seinfeld.

Josh Wink needs little introduction to fans, or even occasional listeners to dance music. The American DJ and producer has been one of the most enduring figures in the scene with a catalogue of music on labels like R&S, Strictly Rhythm, Nervous, Pokerflat, MNus and of course his own long standing Ovum Recordings imprint. As a DJ, he has travelled the globe since the mid-nineties, headlining festivals and clubs wherever he goes. What he has never done in his almost 30-year career is ever lose touch with the roots of underground dance music, something he demonstrates once again here with a standout new single for Maceo Plex’s label.

As Josh says, “Eric and I have known each other since the 90’s, when I would come to Dj in Houston Texas, and now so many years later, I’m excited to have my music released on his mighty Ellum imprint, including a great remix from Dj Sienfield”.

‘Feel’ is classic Josh Wink, near eight minutes of spacey, hypnotic dancefloor wonderment fuelled by syncopated percussion and arpeggiated bass which builds the tension before a spacious drop and meditative, spoken word vocal take the reins. Timeless and heartfelt this is a gem from the Philadelphia legend.

Remix duties fall to Sweden’s DJ Seinfeld, the lo-fi house pioneer and Young Ethics label boss who chops things up with a warped bassline, wonky FX and dancing synth lines to bring a brilliant alternative to the table.

Known for his grainy, analogue dance floor hits, Hungarian artist Norwell has returned with a powerful and transcendent 4-track EP, releasing through Fanzine Records. "In Between" EP is a drum-heavy, intricate series of grooves and soundscapes that draw the listener in from the beginning. While remaining faithful to the tendencies of techno, this record brings something of its own to the table in the form of acidic basslines and retro Kosmiche synth parts, resulting in a stunning array of textures.

"Eastern Echoes" is the opening track on this EP, and it deserves that spot. Combining an intense, Aphex-esque drum beat with hazy, dreamlike Middle Eastern inspired vox and pads, this track is a pumped-up monster of an introduction to the EP. This is immediately followed up with "Evaporate Yourself", a dark and brooding beat with a serpentine bassline that creeps its way through the track and combines with the lush, ethereal ebb and flow of the detuned synths and horror-themed vocals. This track is as cosmic as it is industrial, and sits on the fence between the two in a very unique way. "Model 244" on the other hand utilises a much more 70's modular sound reminiscent of early Kraftwerk hits adapted to the modern age. The track builds layers upon layers of left-field percussion that dance around the central arpeggiated bass in a very pleasing way, and Norwell doesn't leave out his signature glitchy, mechanical soundscapes, which give the track its glorious tension and release. The EP is rounded off with "Repetition Void", potentially the most experimental of the four tracks. Flanged hi-hats dance around the listeners ears and hazy analogue keys induce a hypnotic trance, exacerbated by the almost Papal choir vocals that fit seamlessly into the background.

As Norwell's first release through the Fanzine Label, this EP is dark, it is foreboding, and with the unexpected turns the rhythm takes, it doesn't care about your feelings. If you're ready to be punched in the face by this sci-fi horror listening experience, watch for the release of this EP, Fanzine latest addition to their roster of tasty electronic jams.

Rising Manchester star FINN takes the helm for the next release on Ruf Kutz with two hyper-real contemporary raw bangers crafted for maximum emotional impact backed with remixes from RK big guns RUF DUG & GLOWING PALMS.

Even though he's a comparative youngun, this is by no means Finn's first time at the rodeo - he's a label boss, an NTS pioneer, a Boiler Room veteran, a Defected Records Old Boy and also holds down the coldest twitter account on the information superhighway. It's a big deal to us that we managed to snare him for a release on his ascent to whatever accelerated dimension he is headed for.

Purposely conceived as raw club tracks after a heavy Paul Johnson listening session, TRICK TRICK and BELLE THEME contain many of his beloved hallmarks while also showcasing new creative pathways - the title of the EP surely alluding to what Finn is about to pull from up his sleeve...

Opener TRICK TRICK is many things all at once - a raw turbo-jacker, a hugely emotive bassline roller, a super-fresh club banger that has few elements, yet uses them with such efficiency it's impossible not to be drawn up into its vapour trail.

BELLE THEME winds the pace & harmonic tension up with manic abandon as we find ourselves in Finn's familiar 130-plus territory but while the tempo is slamming he somehow manages to drape everything in a lacy coating, as if we were playing a bonus level from a lost Studio Ghibli PS1 beat-em-up.
Back in the real world we flip the record for 2 textbook Ruf Kutz remixes. First up label boss RUF DUG guts Trick Trick and serves up the fillet on an unashamedly tech-house bed, purpose-built for DC10 circa 2009 - meanwhile Ruffy's partner in crime GLOWING PALMS dips into his secret stash of double doves and takes Belle Theme for an unforgettable night out in a Burnley warehouse.

Of the release Ruf Dug says "It's been a big thrill to follow Finn"s development over the years since we first met. I've been hoping to collaborate with him for quite a while so for it to be finally happening especially at this stage in his career is a genuine mega buzz!"
Finn says: "Been a keen Ruf Kutz fan since Rachel's Team in 2016! So happy to contribute to the label with two rough (ruf) and ready club tracks - late night/early morning hymns"

As we travel further along the murky 2020 time-continuum we are pleased to deliver the next release for Pure Space Recordings. This time from one of Melbourne’s most acclaimed producers, Rings Around Saturn.

Rings Around Saturn delivers us with two club focussed tracks that skilfully toe the line between electro and bass music.

On the A-sde you will find ‘Grip’, a heavy hitter that’s weight comes from the deep sub-rhythms and hefty drum programming. The melodic, acid-infused arpeggios that fill the tracks body seemingly pull you further and further off the ground until finally the suspension is released through a glistening breakdown.

On the flip you will find ‘Subterranean Electro’, a track titled aptly to describe its heady electroism. Here deep bass is met with skittering pads, and tension fuelled melodies whilst a constant rhythm that feeds the tracks subterranean ecosystem. The gritty melody is fast and jittery keeping you on your toes whilst you complete your journey.

A1 was first played at Inner Varnika Festival 2019. B1 was included in Andy Garvey’s RA Podcast.

Ma Sha Ru announce the launch of Kindergarten Records with their second EP, Zer0: a chaotic blend of club-ready electro, broken UK bass and gnarled techno. Respectively based in New York and Berlin, their music is born of the intense bursts of time this transatlantic couple spend together.
Recorded in summer 2019, Zer0 finds producers Ma Sha and Rù delving deeper into the dark and trippy impulses hinted at with their debut.
Opener Slew is a bubbling cauldron of UK bass rhythms and agitational tension, while the title track Zer0 builds it’s ominous electro around a vocal sample of robot struggling with a mathematical quandary, ghosts rattling in the machine. Things get eerier still on the flip, It’s a Forest Rave paying
homage to a journey deep into the woodland near Vilnius in Lithuania, menace dripping from branches as pounding, gabber-indebted kicks propel dubby keys and a distorted video game lead. Showers rounds off the record with their most experimental effort to date, a broken 140bpm stepper that stumbles and stomps around its delicate, icy core.

Golden Days is the late completion of Ethimm’s EP trilogy on Light of Other Days and it continues exactly where the group left off 4 years ago. What started as the groups signature „tension music“, oscillating between dark repetition and moody improvisations is slowly morphing into a production style that features a heavy pop sensibility infused with conciliatory optimism.

The opener and title track of the EP recounts the meeting of a new lover in an autumn sunset. Starting with dreamy piano chords, a rhythmic bass and handclaps, it provides a beautiful musical backdrop for Tizi’s longing voice. During the course of the track, modulating synths and plucked guitars join her vocals as she sings about the „Golden Days“ spent with her lover.

Over & Out starts off in typical Ethimm fashion. Dubbed guitars, minimal beats and a sparse piano melody sets the tone for Elisabeth Thimm’s fragile vocal. In Over & Out Elisabeth negotiates her wish for freedom and how she breaks with her daily constraints. Albeit initially being drained in melancholy, the track ends on a musically hopeful note when a beautiful chord progression suddenly appears, colliding with an extended synth solo from outer space.
On Echoes in the Distance, glorious arpeggios accompany a sophisticated 303-style bass line and haunting vocals. The track follows one of Elisabeth’s dreams into a frantic, nondescript, deserted backdrop and slowly morphes into the most ecstatic piece of the EP. The multi-layered arrangement combined with Ethimm’s yearning voice on top, sound like about 3 tracks seamlessly sticked together. The track ends in pure ecstasy and the listener is left with the exciting feeling of wanting more.

The EPs finale is made up of the hopeful and minimalistic Day by Day, a track reminiscent of the balearic pop from the 1980ies. Gracefully and drained in beachside sunshine, Ethimm reminds us not to waste our days with unnecessary actions and focus on the beautiful small things in life.

the debut release of australia born, berlin based producer “fantastic man” on mule musiq. he has released many nice records from the quality labels like let’s play house,kitjen and own superconscious records. since we’ve met in milano last year,we started to talk about the release. now our first 12inch then his debut album is coming in this summer. stay tuned!

Getting stuck into the new year with a fresh, contemporary jazz attitude, Rocafort Records are proud to present the Kumadé EP from exciting Swiss-French quartet KUMA, led by keyboardist Matthieu Llodra and saxophonist Arthur Donnot.

Confidence, rhythmicality and solidity are the first impressions that hit you from this tight outfit of young but highly experienced musicians. After nine years of holding down a 10-night residency at the prestigious Cully Jazz Festival, Llodra and Donnot have honed down their skills in front of a live audience making tension, pacing and release their speciality in compositional strategy. Grooves and moods are created with just the right amount of rise and fall, push and pull, melodic catches and improvisational wanderings.

The EP is well balanced out with two spaciously laconic, ethereal tracks - Alfama and The Core - that could easily belong on some ECM-inspired soundscape, juxtaposed with Kumadé and I.G.A.T.F. that pack a fuller punch, fat and chunky in all the right places, hinting at a 1970s style George Duke at his funky-fusion best.

Despite a whiff of nostalgic reference, rest assured that the KUMA timbre is fresh and exploratory, as innovative and curious as any protagonist from the current UK jazz explosion. Keep an ear out for these young Jedi masters, all of them at the top of their game. More assured, impressive releases are due out this year.

Matthieu Llodra – Fender Rhodes

Arthur Donnot – Sax

Fabien Iannone - Bass

Maxence Sibille – Drums

Zacharie Ksyk – Trumpet (guest on Kumadé").

Entitled ‘My Heart Is Hungry And The Days Go By So Quickly’ Danish singer and songwriter Jacob Bellens presents his fifth solo album. Thanks to his unique voice and his talent for heartfelt melodies, over the years Jacob, also known as frontman of I Got You On Tape and Murder, has become one of the most distinctive figures on the Scandinavian music scene. Slightly darker in tone than its predecessors ‘Trail Of Intuition’ (2018) or ‘Polyester Skin’ (2016), the new album lets us see the world through Jacob’s eyes.
Somewhere between left-field pop and a classical singer/songwriter approach, the songs were recorded in two sessions with producer Mads Brinch, drummer Tobias Laust, bass player Jonas Westergaard, keyboardist Malthe Rostrup and guitarist Tobias Fuglsang. “So many good friends and amazing instrumentalists have contributed to the sound“, explained Jacob. “And mostly, people were playing what they felt the song needed, which was an incredibly inspiring way of just letting the process develop naturally, and take on a life of its own.” As such, the recordings give off a distinct light-footed and organic feel. Rich in metaphors, the lyrics deal with personal perceptions based on everyday life occurrences that at the same time hint at the meaning of life in general - or at least suggest a higher perspective. The sonical expression is timeless but also modernistic and the lyrical point of view is refreshingly diverse, never just black or white. The sad songs have uplifting, often surreal qualities, and the lighter, uptempo songs also invite to a certain darkness. A flower basket full of difficult emotions, sprinkled with magical fairy dust that somehow makes everything worthwhile.

Dimi is the new solo project and label of (Dimitrios Ploumpidis) one half of techno duo, AnD.

The Dimi label will be an exploration in sound, pushing techno, rave and dance floor sounds with a raw and powerful attitude.

DIMI001 kicks off with "Time Travel". Pulsating kick drums and vocal cuts interweave, creating groove with the snappy snare and lashing hi hats. When the huge synth stab and melody drop to take us straight to a hedonistic past put looking clearly into the future.

"Bang Your Face" enters the room with a tight, hard-hitting kick and serrated rave sirens building an infectious groove before being banged in the face with the old school euphoric synth line that drops in and out of the mix creating tension and dramatic shifts in the track.

"Groove Away" a throbbing bass and kick drum drop with a sinister stab for this funky techno monster. Hard in dynamics but with a maximum amount of groove this track thumps and slams while the spaced out synth line and rave stabs help keep this funky banger grooving all the way to outer space as the alien melodies propel us for take off.

"All In" syncopated delayed synth stabs build in this track with tight rhythmic percussion and distorted kick drum. The snare enters like a punch to the face but only solidifying the swing while the main synth line opens building tension ready to destroy everything in its path. This is Dimi showcasing his direct and unique take on techno music.

Back in 2018, Lumière Noire celebrated its first anniversary with a compilation featuring thirteen exclusive tracks by an eclectic group of electronic musicians – a family portrait of sorts. A few months later, a second volume of From Above, compiled by the label's artistic director (and DJ) Chloé, once more brings thirteen established acts together with promising upstarts. The first compilation was the embodiment of the label policy advocating for both artistic excellence and a widening of electronic aesthetics – bopping from deviant house music to adventurous IDM and to the rigor of dancefloor techno, among other electronic explorations. Some of the artists featured are now closely associated with Lumière Noire, while others were more established performers such as Benedikt Frey, Lauer, Jonathan Fitoussi, Il Est Vilaine, Dave e Brun (half of Swayzak) and Frank Agrario, as well as upcoming artists such as C O N T R A (a side project by none other than Iñigo Vontier), Sutja Gutierrez, Théo Muller, Markus Gibb, Bajram Bili, and a sprinkling of UFOs circling the genre (Suuns' Ben Shemie, Drvg Cvltvre, and electro-acoustic combo Lumi). This group photo laid down a number of paths for a label in perpetual evolution.

Since then, the Parisian entity has continued to grow within the international electronic scene, releasing Local Suicide's Leopard Gum EP, Iñigo Vontier's first LP, and planning another slew of releases for 2020. The lineup for this second volume of From Above is once again equally intriguing, offering a crescendo-like track listing over a double LP format, which is a feat of sorts for a "Various Artists" compilation.

Marc Mélias' fascinating, unsettling Permanent Waves gets the proceedings going with a contemplative track that provides a serene opening to the odyssey on which From Above will be taking the listener. Pletnev continues on with the playful, hooky Marco O’Polo, a fundamentally techno track built over a seductive 90s-inspired breakbeat. Douglas Greed (whom Chloé remixed on BPitch a few years back, and had himself remixed track from her album Endless Revisions featuring Ben Shemie’s vocals), supplies Vancouver, a slice of ambiance à la Boards of Canada, supported by a gripping breakbeat. The rhythmic arpeggio of Israeli producer's Middle Sky Bloom makes his contribution a hypnotic, disconcerting slice of dark disco. Thomass Jackson, a safe bet in the new wave of the Latin-American electronic music blowing its sometimes hot, sometimes cold wind, proposes Mithra, a dancefloor incantation to the Antiquity's bull god. With Bells, Goldmoon delivers a track that is both melodic and nostalgic, tinged with rhythmic samples, Moog basses and solar backgrounds. Longtime friend of Chloé, Krikor, who has released two albums on L.I.E.S. Records (Pacific Alley and Saudi), offers a moment of respite with Sally Hardesty (a nod to fans of horror movies), a heavenly and bewitching track that, paradoxically, hints at the highly energetic second half of the compilation. Discovered with Confidences EP released on Lumière Noire, the young French producer Morgan Blanc asserts himself here with Werde Der Du Bist ("Become who you are"), a song with luminous chords and midtempo rhythms to start the second half of the compilation by raising the tension. Galician producer, DJ and designer Cora Novoa continues the rollercoaster's ascent with her Virtual Aesthetics, which once again brings those acid tones – this time without the vertigo. Equally corrosive, but tenser and more percussive, the uncategorizable NSDOS' AL-G attempts to give order to a chaotic electronic world full of violence and danger. Rebeka Warrior (half of the duo Kompromat alongside compatriot Vitalic), takes on a more nostalgic vibe with Ich Komme Zurück, a French/German techno chant evoking a secret dream of a track from a bygone era. Three years after the release by Lumière Noire of Moderna and Theus Mago's stroboscopic Dog Is Calling You, Theus Mago makes a solo comeback with Idealistic Stone, a most acid of club tracks, rattled by the modulations of the inevitable TB 303. French electro-rock saltwarth Yan Wagner's dancefloor alter ego The Populists' Prehistoric Lemurs gives an almost Orientalizing twist to Kraftwerk's techno-pop. To close things off, the collection's last track, the appropriately-named Instant Track by impromptu encounter between Hervé Carvalho (Acid Arab), Jacques Bon (Smallville) and Demian (Kompakt) Acid Love Triangle, releases the pressure with a long, bittersweet reverie that leaves the listener, at the end of these thirteen musical adventures, to rest languorously on an artificial and welcoming shore.

Former Metal Drummer and Guitarist Mython found his passion in the Techno scene of Berlin and can count himself to the core artists of Florian Meindl's FLASH Recordings.

Mython's signature sound is shaped by an incredibly dense kick and bass arrangement which always results in a solid wall of sound. The tension between melancholic synth lines and bursting drums is always resolved in the strategically placed breaks, only to be brought back with an even higher intensity.

Standards & Practices returns after an extended hiatus with its first release for 2020 and the label's first-ever compilation. Showcasing six exclusive tracks from a variety of musically like-minded allies both new and established, "Out Of Practice Vol. 1" finds some of the most talented artists currently working in electronic music refining their sound and pushing their craft in exciting new directions.

Stave and Grebenstein's "Rack 4", their first collaboration since 2018's acclaimed "Live From Frankfurter Strasse", kicks off the proceedings with a view into a bleak, dystopian sonic landscape, while Italian producer VSK, known for his excellent EPs on Mord and 47 (among others) delivers "Pendulum", one of his best tracks to date - a visceral, unrelenting, broken-beat behemoth. Closing side A is Chicago native Todd Mattei 's contribution, "Lake Charles", a beautifully textured Frippian soundscape.

Kristian Jabs, better known to most as Pessimist, opens side B with "Rut", a sleek, stripped-down, techno track that positively drips with moody atmospherics and tension. Overlook and Karim Maas's contribution, the dense and claustrophobic "Chalk", is an ultra-heavy breaks track with hoovers and enough sub-bass to shatter blocks of granite. "7th Recording 29", an ambient piece which represents Jonathan Krohn's first recorded collaboration with long-time friend and associate Benjamin Mjolsness since their work together in the group Male - closes the compilation.

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

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

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

Having made a huge impact amid Carl Craig’s celebrated 2019 entry in Planet E's Detroit Love mix compilation series, Ataxia's anthemic ‘Oblivion’ arrives on vinyl for the first time alongside a new cut, ‘Michaelangelos’. Each track takes Ataxia’s notoriously detailed production techniques and applies them to a widescreen, enveloping template.

Constructed from rubbery basslines, wormholes of rave power and a structure that applies tension and release to killer effect, ‘Oblivion’ has continued to engross dancers since it’s digital release, transmitting an increasingly rare blend of minimal yet maximal rave pleasures.

On ‘Michaelangelos’, Ataxia further demonstrates a fluid ability to keep listeners on their toes, shuffling the deck but applying the same irresistible tricks to a rhythmic, tripping cut and the unexpected sample at its core.

Consisting of Eric Ricker and Ted Krisko, Ataxia have previously released on labels including Visionquest, 2020 Vision, Leftroom and Kevin Saunderson's KMS Recordings. They currently hold down long term residencies at the legendary Marble Bar and TV Lounge in their hometown of Detroit.

Maceo Plex hasn't dropped an original on Drumcode since 2014 when the hugely popular 'Conjure Infinity' EP was released. Despite this, he's been a significant feature at DC events over the last year.
Sharing a tight relationship with Adam Beyer, the pair have laid down memorable B2B sets at Warehouse Project, Ultra Music Festival, and the Resistance opening party in Ibiza this summer, thus cementing their tight musical bond.

Produced in the early part of 2019, 'Destination Mars' marks his terrific return to Beyer's iconic label. The track is trademark Maceo, a master class in tension and release, characterized by a slick low-end bass hum that gathers steam as crunchy drum lines and breathy vocal accents combine effectively with the main vocal lead, a contribution from Josh Wink, no less.

... No surprise, it went down a storm when debuted at Time Warp's mammoth 25th-anniversary party in April and has been highlighting the Ellum boss' sets ever since.

The ever-reliable Raxon is charged with remix duties, stripping back the track's engine to focus on a central melody, chugging bassline, and hypnotizing vocal effects. Shall Ocin's re-rub is made for misty-eyed mornings as celestial pads result in a transcendental finale to bring it home.

Four freshly dare-to-be different cuts of bass-driven Techno, electro/IDM grooves, atmospheric dub chords, weird percussions and odd-uneven rhythms.

There’s a subtle sense of tension and restlessness in the guts of this music but also a lot of space, both colliding in the powerful dubby synth-solo closing track.

Through the combined brilliant minds of Fabrice Lig, Kiko Navarro, Karim Sahraoui and Jean Vanesse, the new musical force known as Quadra 163 has arrived. Working together in Jean Vanesse's Belgium studio, their debut EP, "Spin Coaster EP" was born.

Through intense live collaboration over 3 full days, the results are these incredible original tracks and a remix from the American house legend, Osunlade (Yoruba Records). Belgium's Elypsia Records have an absolutely essential release here for those looking for proper club weapons - each track dreamt up by a crew of producers with decades of critical acclaim and club credibility.

Osunlade kicks off the release on A1 with his rework of 'Spin Coaster.' The remix is a late night machine jam saturated with sharp synth textures and a shuffling rhythm which will lock the dancefloor tightly in place. A perfect blend between House and Techno, it's a shining example of Osunlade's keen ability to capture imagination with function, tension with release.

'Ghetto Beat' steps up as the A2, with a drum heavy cut full of off-kilter hits and tones which twist and turn in frequency and timbre. It's the type of track that will get the crowds cheering and jackin' and dancing without a break. A proper tool to slam into the set whenever energy levels need to lift higher and things need to get slightly twisted.

Title track 'Spin Coaster' sets up the B-side with a master session of prime time techno making magic. A playfully thick bassline resonates in and out of the analog rhythms while a synth tone builds tension over the track's entire duration. A few breaks for the clubbers to catch their breath are placed in the perfect spots - but only for a brief moment before things kick back in.

Rounding out the release is 'Ghetto Train,' an absolutely mental banger designed to melt the minds of those fortunate enough to be on the dancefloor when it's dropped. Relentless rhythms, huge hand claps and a sharp staccato shuffle drive the tune whilst synth stabs grow filthier with each passing phrase. Clearly the results of an insane studio session from the crew.

The On Board Music imprint returns with its third release this October, a five- track various artist package featuring material from Lanoche, Yugen, Serena Butler, Estrato Aurora and Vera Logdanidi.

Laura BCR’s On Board Music delivers its third release here, following two mini LP projects from Healing Force Project and Mesak. The ‘Point A’ project marks the beginning of a series of VA’s coming on the imprint focusing on both established and up and coming talents from different origins, stylistically ranging from ambient to techno and all meeting together on the dance floor. French painter Natacha Mankowski provided the artwork once again, and mastering was taken care of by Carsten Dämbkes.

Taking the lead is Lanoche’s ‘Love Fall’, an ethereal opener fuelled by hypnotic pads, wandering bass tones and heavily reverberated, shuffled percussion before Yugen’s ‘Phantom’ lays focus on pulsating arpeggios, choppy bass stabs and swirling atmospherics. Serena Butler’s ‘Fertile Fancy’ follows next, a cinematic four minute ambient cut employing subtly nuanced pads and bright voice like tones throughout.

Estrato Aurora’s ‘Icnita’ opens the flips side with murky, oscillating bass tones, gritty, off-kilter drums and an ever-present underlying tension before Vera Logdanini’s ‘VPlanet’ rounds out the package perfectly, delivering a reduced Techno cut fuelled by cavernous atmospherics, arpeggio bleeps and swirling low-end pulses.

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60';s and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

The 1970s saw change in Sun Ra's recorded output, and as far as we can tell, the content of his live performances. By the middle of the decade, Sun Ra's music no longer seemed comprehensible as part of the jazz New Thing – quirkier, more idiosyncratic elements were more to the fore.

At this time, 1974, every Sun Ra record still surprised, and seemed radically different from everything else he had released up to then. The musical universe proposed by free jazz had never circumscribed Sun Ra. He had been part of the movement, but was able to use the possibilities it suggested without being limited by its conventions.

The Antique Blacks illustrates this well. Recorded as a radio broadcast in Philadelphia, according to Dale Williams, it has a well defined but oddball structure. Sun Ra was a master architect, very concerned to use the unfolding of an album, a broadcast or a live performance to create a satisfying structure.

Song No 1 starts on an upbeat note, it's a lively, tonal introduction, featuring John Gilmre on tenor saxophone, Sun Ra on roksichord, Dale Williams, then aged 15, on guitar, and Akh Tal Ebah on trumpet.

Sun Ra's poetry is featured on There Is Change In The Air, a track which has on occasion been used for the album title: in its original incarnation as a Saturn LP, there was no dedicated sleeve artwork, and this record appeared under many names. Ra's poetry is allusive, elusive and paradoxical, and this was its first major appearance on a record. During instrumental passages, Dale Williams' guitar is heard, along with the saxophones of Marshall Allen and Danny Davis.

The Antique Blacks is a similar setting for a Sun Ra poem, which encompasses "spiritual men", and Lucifer as a dark angel. The Arkestra is heard in conducted improvisational ensembles, in between the sections of the poem.

This Song Is Dedicated To Nature's God has Arkestral vocals, with John Gilmore's voice in th foreground. Williams' guitar is once again prominent in the instrumental passages.

Sun Ra's poetic declamations provide the structire for The Ridiculous I and The Cosmos Me, which also has a fine unaccompanied tenor solo by John Gilmore, keyboard improvisations by Sun Ra, and closes with bass clarient from Eloe Omoe.

Sun Ra's keyboards are heard with minimal Arkestra support on Would I For All That Were – a fine synthesiser improvisation, with electric piano left hand accompaniment.

Tension is resolved by Space Is The Place, which rounds the album out in an upbeat mood, with Akh Tal Ebah, James Jacson and Sun Ra prominent among the vocalists. The closing section includes the chant Sun Ra And His Band From Outer Space, often used at the close of live performances. This isn't strictly live, though: in one line the vocal is played backwards on tape!

Vinyl only imprint DMK (sub-label of Dogmatik Records) returns this November with the ‘Future Funk’ EP from Alex Jann.

Alex Jann’s material has amassed a wide array of supporters over the years, from Solid Blake and Alienata to Dave Clarke, Afrodeutsche and Posthuman his strictly hardware and modular synth workouts perfectly weave emotional synthesis with raw, gritty aesthetics. He’s released several EP’s over the years on labels such as his own Censor imprint with remixes of his work by such artists as Marco Bernardi & Animistic Beliefs, multiple EP’s with Clive Henry and shared label space on Rhythm Cult alongside Deadbeat, Barem, & Aquarius Heaven.

Title-cut ‘Future Funk’ leads with crunchy 808 style bumpy drums, tension building strings and squelchy acid licks at its core, while ethereal pad swells and wandering sub bass tones wander within the groove. ‘Robotic Prayer’ follows next, with shuffled percussion, soft atmospherics and a choppy bass line smoothly carried across five and a half minutes all subtly nuanced throughout.

Opening the flip side is ‘The Return’ which employs robust drums and murky synth flutters alongside cinematic string melodies before ‘Liberation Of Mass’ rounds out the release, fusing a broken rhythm and intricately programmed oscillating synth effects to create a hypnotic end to the EP.

In her most personally narrative work to date, A Fossil Begins To Bray is the follow up on Dais Records for NYC producer Hiro Kone, furthering the dialogue set forth on her 2018 release, Pure Expenditure. While the statements on Pure Expenditure rallied behind a point of dangerous excess and injustice, the material on A Fossil Begins To Bray embark upon a journey of discovery and selfanalysis, proposing a potential reorientation towards absence in hopes of illuminating potential futures.

In Mao’s own words, “This album considers the power of absence as neither a lack or deficit, but as a quiet, indeterminable force to cultivate in this time of looming and unrelenting techno-fascism. It asks that we take pause to consider our learned languages and actualities and to better consider how desire shapes our recollections and interpretations of this ‘existence.’” This allegory is expertly applied to every song on A Fossil Begins To Bray. Mao has established a long history of employing absence in her productions to maximum effect. With a vast assortment of diverse elements at play, no single track ever feels overly convoluted and further illustrates Hiro Kone’s skillful attention to dynamic tension and flow. Tracks such as “Fabrication of Silence” and “Submerged Dragon” perfectly represent the power of absence, utilized in a matter to create unique amalgams of decisive, cinematic techno rhythms from the electronic void. As the melodic elements contained within A Fossil Begins To Bray begin to unravel and slowly take form, the unaware are rewarded with a driving yet tangible refrain that offers resolve in contrast to the dense, textureladen backdrop that forms the album’s foundation. The first single, “Feed My Ancestors”, expands upon Hiro Kone’s signature take on electronic music structures. Seemingly free from the predictable contracts imposed by any one genre’s stereotypes, Hiro Kone throttles the foreboding bassline in favor of more calculated, abstract cut-ups that gracefully hold the track in place between hopeful utopia and something more ominous.

Planning the imminent arrival of the 50th release on Touchin’ Bass, label boss Andrea Parker was digging through the warehouse during a stock take and it became apparent that there was something missing. There was a gap in the catalogue numbers. Where was TB036? Searching the archives it transpired that, for one reason or another (not least Parker’s inability to count), there actually wasn’t one.

So what better way to backfill this now documented gap than to welcome the multitalented guitarist and drummer, mathematician and multidisciplinary improviser Maria Gamboa Perez into the Touchin’ Bass fold with an updated focus for 2019.

Perez combines elements of rage, chaos, tension and anguish to form a visceral style. Her musical terrain and talent is shaped by dissonance and NO art. Under the moniker NonZero!, Perez brings Matrix Equation to the fore; a heavy 8 track EP with electro aesthetics from none other than Carl Finlow Scarletron/Silicon Scally/Voice Stealer.

Beginning her artistic career as a teenager playing as a bassist and guitarist in groups with influences from Noise, Avant Garde and the No-Wave, Perez was introduced into several areas of electronic music during the club culture years in Madrid and opted for styles such as Electro or Industrial, at which point she began to be interested in the introduction of rhythm boxes together with traditional drums.

Her passion for sound synthesis and musical exploration led Perez to introduce electronics into a solo project under the pseudonym NonZero!. Under this name she aims to make electronic music her field of sound research and for years has been continuously searching for existing relationships between sound and mathematics, focusing on the perceptual limit between music and noise.

Matrix Equation indulges in an evidential brooding angst, shifting between abstraction and the kind of elevated introspection carefully harvested over the years. With dramatic frontage in parts, blasts of boisterous energy and machine mayhem, its deployment of surprise, shifting focus and spontaneity operate in an assured statement.

Splintered beats and a foreboding sense of tension give way to a more DJ friendly logic of instinctive introductions and codas of gradual builds and breakdowns as Finlow further reworks the results to great effect.

* Emika releases a remix EP of her 6th studio album ‘Falling In Love With Sadness’, (Originally released on World Mental Health Day Oct 2018)
* The remix EP explores 4 sound worlds in electronic music today. Experimental bass music, hypnotic & dark techno, and electro.
About the remixers:
* Pinch, a pioneer of UK bass-driven music, is considered to be one of the most groundbreaking, explorative producers to emerge from the UK dubstep scene.
* Rising techno star Julia Govor is an artist doing things differently, paving her own way with her own label, receiving recognition from the global dance music scene.
* Rebekah needs no introduction, pioneering her own intense sound, now entering her 20th year in the business, she is a serious artist with some seriously heavy vibes.
* Underground Berlin talent Headless Horseman, all though shrouded in mystery, is in high demand world-wide to perform his unique live sets at some of the biggest clubs and festivals.
* Emika produced original album material with cult electro icon The Exaltics.
* Solid remixes from solid underground artists.
About the remixes:
* Pinch creates a seductive environment for a scene from which could have been from David Fincher's Fight Club, one which threatens to overload at any given time, but retains tension until the end.
* Julia’s mix transports us into the next part of our journey, beyond conflict and tension, she gives us the chance to breathe, open up, be free and to dance.
* Rebekah's remix brings us hurtling back down to Earth at a tremendous pace, with crystal clear drums that wake up the soul and synths that energize the mind, this version is more than a dark techno track, it has the spirit of a self-confident grown woman running through it.
* Headless Horseman brings Emika’s original into a beautiful new song space, revoicing the harmony and finding completely fresh chords and backing.

* The artwork hits the mark with a message important for Emika: Equality. With 3 female artists and 3 male artists all featured on the cover, this is a way in which Emika highlights her love for collaboration and sharing of the spot-light.
* Green coloured vinyl (1st edition) 500 copies pressed..

‘’We are moving into a new century where collaboration is going to bring music forwards and exclusivity is going to become a thing of the past.’’ - Emika

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.

Casino Times? aka Nicholas Church and Joseph Spencer
from London have been betting against the house for
close to 10 years already, winning big with releases on
Wolf Music, Needwant, Omena and their own Casino
Edits label. The pair also hosts the radio Show “What’s
My Derivative?” on Bloop Radio.
Since Mireia Record’s big cheeses RSS Disco have been keen to gamble with the Time’s
music, routinely lighting up dancefloors with it, a loose connection and mutual admiration
formed over the years and eventually lead to this fine record here.
RUSH & KAWAI
Casino Times demonstrate their cunning yet natural and flowing sound with two originals:
“Rush” and “Kawai”. Both tracks are a proper trip of its own, psychedelic pinball machines
that’ll catapult you to the further edges of the known sphere.
An arpeggiated melody line leads the “Rush”, while a rock solid foundation of hard hitting
drums keep you steady. The melody filters into acidic fringes and a strange voice guides the
traveler to the core of this outer-body experience.
By intertwining a pulsating E-Bass with sharp percussions and a brazen guitar chords,
“Kawai” steers the travels even further out of world’s reach. A whole ensemble of sirens and
vocal fragments warn of imminent rapture. After this, it’ll be hard to return to the mundane.New Release Information
KAWAI (Conga Fever’s Belgian Fries Remix)
Leading the string of three remixes is Mireia’s Conga Fever. Known by now for impeccable
and inspired productions he might just have outdone himself again with this interpretation
of “Kawai”.
Taking cues from Belgian New Beat while sounding unconditionally modern at the same
time, Conga Fever has crafted a bona fide festival anthem. After confidently building up
tension and taking his time in the breakdown, the remix manages to release an incredible
amount of energy. We’ve seen people out of their minds and literally stage dive to this one.
KAWAI (Rigopolar Remix)
A new face and dream cast to the label: Rigopolar aka Menio Brown. The Brooklyn-based
producer and DJ has been on our radar for some years with a string of captivating releases
for Tom Tom Disco, Nazca Records and an upcoming EP on Duro. Especially “Sun Of
Lemuria’s” hypnotic brittleness turned our heads.
Adding a new high point to his repertoire, Rigopolar’s take on “Kawai” is an expansive, dark
journey into the void. Powerful lasers and strobe lights appear to lead the way, emergency
broadcast voices beckon the dancers to the floor. The clobbering bassline and twitching
melody help to reach previously unseen heights.
RUSH (Filburt Remix)
Working his signature slow-burn magic on his remix of “Rush” is Filburt. More than happy to
welcome him back to the label. The O*RS label head, DJ and producer is responsible for
some of our favorite material in the past and does not disappoint with this remix either.
Lush pad sounds oppose salient drumming, slowly tightening the atmosphere while a robotic
voice evokes a melancholic mood. The whole night’s rooted on this fervid bassline and it’ll
carry you into next Monday

Kangding Ray consistently fascinates the scene with his unique style that is bridging the dance floor and abstract electronic composition, talking equally to the mind and the body. His first record for Figure spans exactly that arc, introducing to the label something both for headphones as it is built for the big clubs.

The tracks on X13 feel as intimate as the artist‘s work on other long players but are focused clearly on impacting the physical realm. Teeming with ideas, he first lets his modular synths sway and turn loosely before switching it to a more bassy and propulsive approach on the flip. Balancing cinematic strings against stepping rhythms, the EP‘s closing track is another prime example of this producer‘s skill to craft something which holds up as an abstract piece of art as much as it does yield a lot of emotional tension.

Brian Kage’s fourth release on Michigander Music “303 in the 313 EP” features 4 uniquely gritty and acid-soaked manifestations of mid 90’s Detroit. This exercise in analog monosynth mastery directly connects the grittiness of the urban landscape with the raw spirit of creative freedom.

Detroitasaurus starts the record off with a subtle prehistoric soundscape, steadily building rhythmic tension using hypnotic toms and melodic drum patterns. Razor sharp 909 hats hammer down there through the sonic mist as the journey continues to build. Shrieking jurassic trumpets cap off each of the peaking climbs to reveal metallic broken-down structures that are bound together with oscillating 303 threads and a grooving bassline.

Van Dyke Vessel features an atmosphere of textured percussion and metallic analog synths that wind around a deep square bass groove. Suddenly, truncated growling vocal samples start to collect into the catchy phrase “Let’s take this to outer space”. Swelling pads give way to squealing acid as this track transports dancers to a nostalgic melodic dimension.

Delray Dance undulates with thick bass slowly building into a body focused groove as it winds up and gives way to a rugged 303 saw with fluttering Spanish style synth stabs. Classic Detroit pads continue to swell, adding to the tension and leaving enough sonic space for melodic mixes in and out. This tune is the perfect tool to transition between genres.


Zonin breaks the mold by combining old-school electro vibes with a heavy dose of acid and freestyle hip hop. Heavy broken beats are combined with a rockin’ nostalgic bassline and layered party vocals that transports you to the center of the dancefloor on the best night you’ve ever had.

On the back of their debut release, Subtle Recordings is at it once again bringing some heavy weight from the shores of New Zealand with bad man Ebb taking the reins. As always, exquisitely imprinted ‘no holds barred’ by the masterful Optimal Media in a full art sleeve, 180 grams, vinyl only, no-repress recording. Standing strong as another pillar of foundation to the future sound of bass music.

Renate Schallplatten's eighth release comes from Michal Zietara with Olympia Europa. The four-track EP, the Polish-born, Bavaria-raised, Berlin-based Renate resident's solo debut features three originals plus a remix from Ian Pooley.

Opener "Mr. Joy" is a late-night uptempo jam with a punchy bassline and warm pads. Chopped vocal samples come to the fore around the breakdown, raising the tension for maximum euphoria upon the beats' return. Ian Pooley's flowing remix on the A2 is in the signature '90s filter house style. The vocals lead the way, adding some warmth to a rather stripped-back affair. It's another peak-time cut that makes you want to close your eyes and move to the music. The punchy beats and upbeat melodies return on "Euro Robot," this time paired with intricate drums, fluttering vocals, and high-pitched keys. Closer "Pink Seal" is more downtempo and pensive, centered around coherent vocals and smooth pads. The beats feature less prominently, even fading away after a brief midsection. It's a cerebral track; a moment of self-reflection in an otherwise upbeat, high-energy EP.

The EP is Renate Schallplatten's second of 2019, following Longhair's label debut. Earlier EPs have landed from Moscoman, Sebastian Voigt, Wareika, and more.

On 28th June 2019, drummer / producer / composer Myele Manzanza will release his eagerly anticipated third album 'A Love Requited' on First Word Records (winner of Worldwide Awards 'Label of the Year' 2019).

Produced with award winning Australian bassist & long time musical collaborator Ross McHenry and featuring a plethora of New Zealand and Australia's finest young instrumentalists, 'A Love Requited' is as much a musical journey as it is an attempt to process, work through and come to terms with the life around him.

"The music on this record was written often as a place of psychological refuge from the tensions of an ultimately failed relationship at home, as well as an attempt to come to grips with thought patterns and personal history that caused an often problematic relationship to music itself. Meditating on themes of love, fear, family, anger, death, ego and acceptance has helped create a narrative arc that grounds the album as well as a mode of therapy to begin working through these issues for myself.

'A Love Requited' is easily my most personal work to date and my hope is that beyond the music itself it may be of help to others, if only to say that your not alone in your struggle to make sense of the world".

This album also features the stellar talents of APRA award winning NYC based pianist Matthew Sheens (John Pattitucci, Cecil McBee, Ross McHenry Trio), alto saxophonist Jake Baxendale (Antipodes, The Jac), trumpeter Ben Harrison (Dave Douglas, Horns Of Leroy), trombonist James Macaulay (The Lagerphones, Epic Brass), multi-reedist Jason McMahon (The Shaolin Afronauts), flautist Adam Page (NZSO, John Psathas, Noel Gallagher), guitarist Django Rowe (Wizard Tone Records) as well as additional keyboard contributions by longtime collaborator Mark de Clive-Lowe (Ropeadope Records, Mashibeats), Brenton Foster and Jack Strempel.

Where Manzanza's debut album 'One' presented his ability as a producer / beatmaker, and his sophomore album 'OnePointOne' showcased his live performance and band leader prowess, 'A Love Requited' puts Manzanza's skills as a composer to the fore.

"Over the last few years I've really enjoyed the process of getting away from music software tools and just sitting at a piano with some manuscript paper and a cup of coffee and seeing what comes of it. I'm a very amateur pianist and my music theory knowledge is fairly limited, but in some ways that's an advantage as I'd be starting with a basic barometer of "does this sound good to me?", without too much consideration for formal rules and structure. From there, developing the arrangements to present to musicians forced me to get a better understanding of melody, harmony and orchestration and to really hone in on refining my ideas to a point where I now feel as much satisfaction and confidence putting myself out on the world stage as a composer as I do playing the drums."

'A Love Requited' will be available on vinyl & digital from the 28th June 2019.

Having released 2 killer and totally unique EPs on Cold Recordings, the British-born, Berlin-based Eric Baldwin aka Cocktail Party Effect, lines up his first for Tectonic. Across these 4 dynamic 130bpm cuts, CPE demonstrates his sharp ear for creating tracks full of energising percussive twists, melding hard-charging, dynamic techno textures and while running wild with a UK sense of bass-heavy and percussive manoeuvres.

First up is the mesmerising and off kilter ‘Shattered Retina’. Setting the mood for the EP it begins with a hypnotic chime sequence, before rising in tension to release the contained frenzy of drums and swaying bass it held back..

Following on then is ‘Triops’, which breaks out from it’s regimented bleeps in the intro to a broken rhythm that picks itself up just as it’s falling over again.

Flip for ‘When The Gun Claps’, which takes a more UK-percussive tone, rolling out a tribal dance floor beat as the vocal sample cuts in and out. Last up is ‘I Feel Sick’, which takes things the hardest mood on the EP and is an absolute banger! Hard, broken techno with sub shaking bass; twists and turns from the offset.

“I’ve absolutely hammered all 4 of these tracks over and over - I love this EP! Cocktail Party Effect is smashing it at the moment, no doubt.” Pinch

DJ Support from: Martyn, Pinch, Madame X, Loefah, Lamont & many more!

Karen Gwyer returns to Don't Be Afraid with her first new work since 2017's Rembo LP, which gained critical acclaim for its powerful body music and melancholic melody led pieces. Man On Mountain EP is a further evolvement of the duality and nuances in moods and emotions that make Gwyer's music so impactful. Resetting, rebuilding and subverting atmospheres and rhythms is a constant in her music and Gwyer builds on that more in this latest instalment.

The low swung weight of opener Faces On Ankles' bassline is full of suspense, alternating between rolling fluidity and unpredictable kick patterns, while a dubby melody dances alongside glossy, introspective arpeggios. The EP then weaves suddenly into cosmic drone that snarls with tension and desolation on Ian On Fire. You can sense contrasts between these two musical spaces – luscious, bouncing techno that nods directly to Gwyer's Midwest upbringing (Faces on Ankles, Cherries On Shoulders) and darker drone experiments where light peeks through the composition that adds balance to the mood, (Ian On Fire, Ribbon on Neck). Gwyer's music takes a different path with each record while holding onto elements of previous incarnations of her sound and Man On Mountain adds new dimensions to the bold and open minded spirit she embodies.