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Demon Records presents the first ever vinyl pressing of The Durutti Column’s 2009 studio album “Love In The Time Of Recession”.

Formed in Manchester in 1978, The Durutti Column were one of the first acts signed to the iconic Factory Records by Tony Wilson. Primarily the project of guitarist and vocalist Vini Reilly, the group have a cult following with notable fans including Brian Eno and John Frusciante.

“Love In The Time Of Recession” finds Reilly and co continuing to explore genre-blending sounds. Highlights include the fuzzy guitar filled ‘In Memory Of Anthony’ (a tribute to the late Factory Records founder), and ‘More Rainbows’, an instrumental conversation between Vini Reilly’s soaring guitar and girlfriend Poppy Morgan’s dreamy electric piano.

Pressed on two 140g translucent amber vinyl, housed in printed inner sleeves.

(Record Store Day 2020)

Mannequin Records is proud to celebrate 40th years of Nocturnal Emissions with more reissues setup for 2020.

"Tissue of Lies" is the Nocturnal Emissions first album, released on the band's own Sterile Records label as EMISS001 in 1980. "Tissue Of Lies"
shows you Nocturnal Emissions Industrial roots, from noisy collages to classic power noise, reminding the early Throbbing Gristle and Cabaret Voltaire, Faust ('Tapes' period) or Conrad Schitzler's 'Schwarz'.

The Nocturnal Emissions project, masterminded by Nigel Ayers, has been on the cutting edge of new music since the 1970s. Nigel Ayers has been described as a Guerrilla Sign Ontologist, cutting-up and pasting the contents of the human psyche. With a background in avant-garde art, his work has grown from audio visual installations through underground video works which changed the shape of British television.

In the early eighties Nocturnal Emissions hit London with a barrage of seminal funk; pioneering the use of sound samplers, multi-cultural
collage and electronic noise. They became a shape shifting chameleon lightening the darkness of post-industrial music, combining extremist performance art and video displays with apocalyptic beat music. Nocturnal Emissions have since been credited as a catalyst for a
generation or two of sound workers.

However, at the height of their success, the Emissions decided to shun the crass commercialism that had developed around them, and to develop their work as a secret alchemy. Nigel Ayers has continued to work with a strong underground of cult support, avoiding music industry fashions, and following his own creative path he concentrated on creating a strong sense of a wilderness identity through sound.

Limited edition of 600 copies, on solid white vinyl.

“Don´t go out there, you might get shot” was the warning from Donna Maya relatives when she visited Detroit two years ago. That makes her even more curious to explore the city. Disturbed by, as well as fascinated from the dystopian state of Detroit she recorded many places that made (industrial) history, including the Ford factory, the world’s tallest, now abandoned central station and the once magnificent Michigan Theater, that was brutally converted into a parking garage. Donna Maya transformed the sound recordings into artificial sound sculptures combined with electronic beats. Every track is dedicated to one of those places and makes it musically alive. With her theremin Donna Maya guides the listener deeply inside. The result of Donna Mayas 6 weeksstay in Detroit is her album “Lost Spaces -> Detroit". “Lost Spaces ? Detroit” is about how to handle crises, how individuals get along with it and the relationship of society to its culture. Donna Maya understands Detroit as a perfect example for what capitalism does when people give up cultural values. With “Lost Spaces ? Detroit” Donna Maya draws a musical picture of how she experienced Detroit that shows that not only a city got lost, but a living space for everyone: Pure urban experimental electronics with theremin.

Seeing himself as a social commentator, Coops continuously draws inspiration from everything around him and is feeling more inspired than ever. Having signed to the label in 2018 he has already released 2 poignant albums and continues to create at rapid speed.

The 8-track project - which was made in just 4 studio sessions - is unlike Coops’ usual 14+ track albums both he and his fans have become used to. Coops turned the album around in record time to ensure his music was released during this unparalleled time in history. The homegrown beats come from his close friend and long term collaborator Talos who has produced almost all his beats to date.

In the opening track, ‘ Boom Biddy Bye’ Coops doesn’t waste a second in putting his fellow rappers through their paces. A block rapper with no one to please but himself, Coops professes that he barely listens to what other rappers release to ensure they don’t infiltrate and influence his own music. Highly appropriate for these times, title track ‘ Crimes Against Creation ’ is the stand out voice of this generation and his message to the world. ‘W arped perception, thwart connections, they force perfection, then claim the antidotes an injection...’ plays out and we begin to appreciate how the current situation is playing heavily on his mind. As the album progresses we get to see all sides of Coops’ personality with ‘Piss Poor’ reminding us of the raw gritty London lifestyle from which he has risen from, whilst ‘Profile’ demonstrates his softer more promiscuous side as well as touching on themes of fatherhood and online relationships.
Coops’ musical entry point begun by making music with his friends, but it wasn’t until he really looked at himself and the world around him when he decided he needed to go it alone, opening his mind and his solo stream of creativity which hasn’t stopped since. A self-proclaimed hermit he embodies the essence of a true artist and only finds comfort in doing what he loves, not what he is told.

Pilo returns to BNR in 2020 with the “A.R.E.A.” EP. Since his first release for the label in 2013 at a very young age, each subsequent record could be seen as a milestone of growth - the “A.R.E.A. EP” feels confident, produced with consummate skill, focusing on the LA-producers strongest themes and devices. This is not, however, the sort of “maturity” that sees things get boring, more restrained. Pilo’s drum is the beat of LA’s unhinged underground techno scene - they don’t do boring - and this drum is always banging.

A-side examples: “Acid by Mouth.” A stuttered kick and a gated, uncanny valley voice form the backbone for increasing layers of texture and percussion. It’s a rollercoaster, as viscerally satisfying on the way up as on the way down. Pilo’s production journey has been increasingly cinematic, and you can see the songs here - “Acid by Mouth” is suited for a Gaspar Noe nightclub scene, and you love to hear it as long as no one gets murdered. “Ruhig” is tribal, made for spaces with 4 story high ceilings and sparse but blinding flashes of light. You can hear steel beams buckling under pressure, a breath too close behind you. The workers of the factory in fit of madness started raving to the sounds of their own machines. They’ve been dancing, without pause, for years now.

The B-side opens with “Exit the Artificial.” Headbanging broken beat kick, aggressive Skinny Puppy snares, ghost voices in hallucinatory bursts too short to confirm to be real. The draw-distance of the stereo spread seems infinite - listen at the very edges and a whole other (ominous) world is taking place. The ghosts mock you in gated laughs by the end. “Adapt Tactics” leads you out - low tempo, hissy percussion, haunted again at the fringe. Things break down, reduced to grain - brain short-circuits, “will I feel like this forever?” It’s a warning - turn back, there’s nothing for you out there. You embrace the madness, and start Pilo’s “A.R.E.A.” EP again from the beginning.

Following on from Myele Manzanza's acclaimed 2019 jazz album, 'A Love Requited', we have a 2020 addendum to that project; an EP of remixes by a set of diverse musicians from all corners of the globe.

Detroit legend Theo Parrish starts off the proceedings. Theo & Myele have previously worked together on various projects over the years, such as with live outfit, The Unit, whilst Myele's 'Surgery Session' of Theo's track 'Moonlight' was picked up by The Vinyl Factory last Summer as well. On his remix of 'Itaru's Phone Booth', Theo maintains the tempo & structure of the original track, whilst tempering the horns and adding some spaced-out keys & a little low end theory to the equation, making this a flip seasoned with Theo's unique flavour.

Mark de Clive-Lowe follows with the most uptempo track on the EP, a delightful bruk refix of 'Big Deal'. Fellow New Zealander, regular collaborator (notably on Manzanza's sophomore album 'OnePointOne') and hugely respected musician in his own right, MdCL delivers a hefty groove direct for the clubs; heavy drums & sci-fi synths lead the way atop of the original's powerhouse horns, switching up with some MAW-esque 4/4 tribal business to close out.

Cardiff's finest, Earl Jeffers & Don Leisure, aka First Word label-mates Darkhouse Family, kick off the flipside with their take on the appropriately titled 'Family Dynamics'. Fresh from their solo & combined projects (producing for Kamaal Williams, running house label Melange, and creating beat-tapes like Halal Cool J & Shaboo), the duo turn out some punchy boom-bap vibes which pulsate throughout the track, accompanied by some sweet vocal hooks, transposing the original into a plucky heads-down neo-soul tinged stomper.

Borrowed CS is another New Zealand artist that's been bubbling away in the underground NZ electronic scene for several years now, as a DJ and a musician. He ends this selection of remixes, taking the original jazz components of 'Pencarrow' and transforming it into a synth-boogie lead piece of brooding broken beat - a 'Clear Path Depiction' even.

Released on Worldwide Award-winning UK label, First Word Records, the original album was also co-produced by another antipodean label-mate, Ross McHenry, who released a new album recently.

The son of a Congolese master percussionist, Myele Manzanza's roots in jazz and African rhythm are well established. Adding his long-time influences of hip hop and dance music into the mix, this EP exemplifies his approach to fusion, and his persona as an ever-evolving artist, drummer & composer. Since his days as part of Electric Wire Hustle, he had his debut release on BBE, has released three solo albums, and done tours & collabs with folks like Jordan Rakei, Miguel Atwood-Ferguson, Recloose & Amp Fiddler. Since moving to London from New Zealand late last year, he has already shared stages with Hiatus Kaiyote, The Bad Plus & Alfa Mist, rocked The Jazz Cafe & Ronnie Scott's, and ably demonstrated his DJ side-hustle chops at stations like Soho Radio, Worldwide FM & NTS, as well as behind the decks in a few danceries across the capital, and behind his drum kit daily.

Already hard at work on brand new material, expect to catch Myele Manzanza live at various shows & festivals across the UK & Europe this coming Summer.

'A Love Requited - The Remixes' is available on 12" vinyl & all digital outlets from March 6th 2020.

Rooted in the São Paulo contemporary art scene, Laima Leyton’s credentials in the world of music are firmly established as one-half of Mixhell alongside her husband Iggor Cavalera (Sepultura, Cavalera Conspiracy) and for her work with Soulwax.
Now the producer, musician, activist, artist, mother and teacher unites her multifaceted talents with her ambitious double-vinyl debut album ‘Home’. It will be pressed and distributed by The Vinyl Factory and released by Deewee on November 8th. Featuring two records that are designed to be played simultaneously: Laima’s vocal and synth tracks on the ‘TONAL’ disc alongside Iggor’s beats on the ‘RHYTHMICAL’ record. Syncing two records offers an unconventional way to experience the music.
Rather than passively hearing the music, the listener’s need to ritualistically sync both records makes for an immersive experience. There are two key elements that make ‘Home’ such a distinctive project. Thematically it explores how the two core contrasts that inform Laima’s life can coexist. On one hand it’s about domesticity – her love for her family and her frustration with domestic routine. Yet on the other, it’s about her creativity – her desire to express herself artistically while still tending to her role as a mother and a housewife. “It’s almost like a family photo album in another format,” says Laima. “I needed to find the balance in this dichotomy, to feel good with myself in both roles, and be aware of things that really mattered to me. To be a woman, a mum and a female producer: all of these feelings were in the music.”

After writing pop-based music under the name Renkas, Sasha Renkas searched for a more carefree and direct approach to making and recording music. His project Antenna is the result of that. He gets his sounds from the unexpected errors and limitations of hardware equipment from the '80s and '90s. Under the Antenna moniker, Sasha has released EPs and singles on labels like Clone, Pinkman, and Beats in Space. This time, Antenna is back with a full-length album. He recorded hours of jams in his studio in Rotterdam and then took a small set-up to Kiev to edit and finish the tracks there. The result is 'Quiet fx', the first release on new label World Of Paint. On 'Quiet fx', Antenna offers melodic soft house tracks with touches of electro and uk breaks.

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

Exactly a year on from 'Travel Light', we release the final single from Children of Zeus' debut album. A dinked 7" single, containing one of the stand-out tracks from the album, 'Hard Work', and a re-vocalled Lover's Rock version of 'The Heart Beat' (a demo version of which appeared on 'The Winter Tape' from Christmas 2018).

'Hard Work' is a term than can easily summarise the past twelve months in the life of Tyler Daley and Konny Kon. They've been busily touring Australia, New Zealand, South Africa, Europe and the UK twice in that time, as well as rocking shows at countless festivals across the continent.

'Travel Light' was named "Album of the Year" by Complex Magazine, BBC 6 Music's Huey Morgan and Rinse FM's Jyoty, as well as taking 2nd place at the Worldwide Awards (for which their label First Word was named "Label of the Year") and numerous high-placing's from Fact, Mixmag, The Vinyl Factory, Juno, Bandcamp, Mi-Soul, Wordplay & Piccadilly Records, amongst numerous other notable selectors, blogs, tastemakers and musicians, with fans far & wide from Radio 1's Benji B to Chase & Status, Jazzy Jeff to Lily Allen, Stormzy to Goldie.

The depth of styles & genres included on 'Travel Light' confirmed that Tyler & Konny are not easy to put in a box. Their initial inspirations of Manchester pirate radio in the 80's/90's all make up to form the sonic tapestry of hip hop, soul, r&b, broken beat, jungle and, in this instance, reggae.

One of the album's biggest surprises was this now-anthemic track, 'Hard Work', which sees Tyler Daley effortlessly ride a one-drop riddim drenched in positivity, and is a highlight in their live sets, as anyone who's witnessed will testament to. Meanwhile, the flip-side transforms the quiet storm vibe of 'The Heart Beat' into a heavy, heavy dubwise track, creating an essential accompaniment and fitting sequel to the original lick.

Pressed on a limited edition rustic JA-style dinked 7", this one is, of course, essential for any discerning collector, fan and DJ. Released on First Word Records, July 12th 2019.

Returning for his third appearance on Frigio, Maurizio Martinucci (aka TeZ, Most Significant Beat and permanent member of Clock DVA since 2010) introduces one of his darkest works to date. Forged in his studio/lab in Amsterdam, the Italian artist casts three works of industrial paranoia with none other than Clock DVA delivering a very special remix.

The same intensity, the same fevered energy that permeated Dusk, is plain to hear in this production. Pulsating drums are pierced by metallic groans and choking voices for the alienating assault that is “Amna.” Clock DVA take on this factory floor demon, soothing and reworking the original. Keys cascade against throbbing basslines and stuttering rhythms, vocals by Adi Newton taking the form of a poem that circles and swoops in a track of brimming with a primal force. Stalking chords introduce “Dene.” A lancing beat lashes a lone string, static and resonance building as layers of machine noise make their inhuman presence known. The end comes from the hull of an abandoned ship, or so it sounds. Aquatic echo swirls around a spread of sunken snares, shrieks and slicing through the crash and squeal of wrought iron. Primordial music from the mind of Pragma.

Dub echo, hip-hop lyricism and heavy guitar fuzz are boiled down into a heady, characteristic musical brew.

On “Dreaming Is Dead Now”, multi-talented wonder Skinny Pelembe meditates on grief, heartache, stunted aspirations and fresh possibilities in post-recession Britain. For his debut album, the Johannesburg-born, Doncaster-raised artist weaves together a patchwork of personal and musical touchstones; memories and observations are dreamily laced together, sun-dazzled California folk diced with the murkier corners of the UK dance lineage.

Tipping a hat to West London broken beat as much as My Bloody Valentine, the album was co-produced by Malcolm Catto (of The Heliocentrics, who’s previously worked with Yussef Kamaal, DJ Shadow, and Madlib), who helped to distil down its bounty of ingredients into the record’s distinctive flavour. Tough, tight-programmed rhythms are washed over with fuzzy overtures, and the title track is the product of a studio session with a foundational drum & bass duo (credited under the covert alias of The Bleeding Edge). It’s the rare kind of record where the messy, in-between musical spaces are given a light to shine.

First discovered through the Gilles Peterson- and Brownswoodfounded Future Bubblers programme, Skinny has since made it onto Peterson’s iconic Brownswood Bubblers compilation series, performed and collaborated with fellow Future Bubbler Yazmin Lacey, and been tipped by the likes of Ghostpoet and James Lavelle. Praise has also come from The Observer, The Quietus and Huck, with previous singles “Spit / Swallow” and “I Just Wanna Be Your Prisoner” bumped up onto heavy rotation on BBC 6 Music’s A-List. He’s also been in demand for live sessions with The Vinyl Factory and Worldwide FM, and supported Nightmares on Wax and Maribou State.

* Second Album From La Stampa, The Six-piece Band From Berlin, Hamburg & Geneva.
* Includes A Bespoke, Full Colour, Fold-out Poster
* Artwork By The Acclaimed Artist, Shirana Shahbazi.
* Design By Manuel Krebs From Norm.
* Edition Of 500

Closely Working With Legendary Producer Tobias Levin From Hamburg, The Band Have Developed And Recorded The Ten Songs Over The Course Of Two Years. Picture Northern Creatures Sweating Out Their Melancholy In The Southern Sun. As The Wind Carries The Beats From The Beach Disco Across The Bay, Chopin, Vodka Shot In Hand, Imagines Writing Music Based On The Build Of Crystals. To The Side Of The Composer, The Rhythm Section Gets Restless. The Thrum Of Eastern European Electronics Pulsates In Their Brains. 'don't Work Yourselves To Death', One Of Them Shouts, 'it's Not Our Fate. Let's Go Dancing, Everything Must Change', Adds Another, And 'sun Screen's On The House!' This Is A Glimpse Of The World Bonjour

Whether the drummer mimics the machine or the machine mimics the drummer is no longer a question for cultural critique or estrangement theory: rhythmitised assembly on the factory line concerns only a minor part of today's working world. More important is the animistic core question: Is the subject (drummer) contained in the beat or does he lose himself to the beat Or does he follow an experimental setup that functions like a composition or a conceptualist experiment, that allows for both, considers both - Diedrich Diederichsen

Jan Jelinek, electronics Sven-Åke Johansson, percussion

recorded live at SYN/CUSSION Festival, Radialsystem Berlin, 07.05.2017

With Recent Appearances On Boiler Room And The Groove Magazine Podcast Plus Sets Across Asia And Europe, Jamaica Suk's Fearsome Techno Sounds Are Winning Fans Far And Wide. A Year On From Her Debut Release On Her Own Gradient Label Comes This Stunning Second Volume.
A1 Stinger Ray Kicks Off The Ep With Zingy Modular-style Synth Sounds Pulsing Over A Bubbling, Murky Bassline. Sheet Metal Snares Punctuate The Beat, With A Switch-up Halfway Through Into Gnarled, Distorted Synth Crunches Catching You Unaware. These Brutalised Rhythms Morph In And Out Of Hypnotic Arpeggiated Pulses To Make For A Hallucinatory Ride With Ample Dashes Of Psychedelia Throughout.
A2 Fallen Sets It Outs Stall Immediately, With Filtered Down Acidic Bass Playing Out A Jagged Groove. A Manic Counterpart Mimics Its Rhythm But Dizzyingly Delayed Off The Beat To Create A Rugged, Funk-fuelled Feel. Cymbal Rides Pitch Up And Down, Unidentified Snarls Of Fx Mutate Around The Edges, All The While The Sharp Hi-hats Keep The Metronomic Heartbeat Going.
B1 Whispers Ups The Intensity. Delicate, Arpeggiated Chime Sounds Set A Crystalline Mood Before Swathes Of Intense, Darkly-tinged Synths Swell In And Out Of Focus Atop The Throbbing Kick Drums. The Effect Is That Of A Factory Full Of Machines Growing A Mind Of Their Own, Malfunctioning In A Pleasing Harmonic Dissonance.
B2 Twilight Rain (vinyl Only) Completes The Set With Infectious Triple Kick Drum Patterns Underpinning Dramatic Drum Hits And Warped Atmospheric Shivers That Create A Spooky Feel As Droning Bass Tones Carve A Path Through Your Speakers.

The fourth instalment of Moxie's compilation series is back, presenting this exclusive 4 track vinyl sampler thoughtfully curated line-up of artists. Featuring friends of On Loop, up-and-coming producers and prominent names alike. Stepping up to open this 12' sampler is The Maghreban, adding his trademark touch to an off-kilter remix of Steve Spacek's 'Gimmi Da Love'. Lisbon's Violet is up next, laying down her energetic signature breakbeat sound on 'Antifa Beats'. Flipping over, the B-side begins with Nathan Micay's infectious builder 'Basic Plumbing', paving the way for Louise Chen's 'Reach (Raw Mix) a solid house number. On Loop has continued on a straight upward trajectory since it began, with 2017's Volume 3 securing a nomination in DJ Mag's end of year awards for Best Compilation, and the imprint earning a place in Mixmag's 20 Best Record Labels of 2017. As the label steps things up, so does Moxie's NTS radio show, now moving to a weekly slot and cementing its place as a staple dance show for the station with regular parties at Manchester's Soup Kitchen, Edinburgh's Sneaky Pete's and London's Pickle Factory. With an international tour to be announced this year, things are just getting started for the DJ & Radio host.

A A1 | Steve Spacek - Gimmi Da Love (The Maghreban Remix)

If you want to know what Gabe Gurnsey's debut album
'Physical' sounds like, the first thing you should do is forget all
about Factory Floor, the group he co-founded 13 years ago.
Gone are the cold, lengthy, stripped back deconstructions of no
wave electronica and industrial techno, abandoned in favour of
something altogether warmer, torrid and succinct.
'It's a real departure from Factory Floor,' he explains. 'Yeah,
that was the intention. There's only one track over six minutes
long! There's only one crossover point on the song 'Night
Track', which is 6'33' - that's probably as close to Factory Floor
as it gets. What I wanted to get into with 'Physical' had more to
do with exploring songwriting and structure. The album is very
escapist in one sense even though I don't want to escape from
Factory Floor but what I do on my own has to be separate and
it has to explore new avenues.' Gurnsey started writing tracks in his downtime from the group early 2017 and by the start of that Summer he had 30 demos ready for work. He admits he worked very quickly initially but then gave the tracks 12 months to develop fully into a new sound.
And that new sound - a 21st Century take on muscular electro,
Balearic synth pop, EBM, proto-Hacienda militant funk, early
Chicago house and minimal, Neptunes-referencing beats - can
be experienced in full on 'Physical' the album released on Erol
Alkan's Phantasy label. The album features additional production from Erol Alkan, who also mixed the record.
Double LP format includes printed inner sleeves and digital
download code. Press - Reviews in Q, Loud & Quiet, The Quietus, Record Collector, Uncut.
Features in Loud & Quiet, Electronic Sound, Q, Clash, The Quietus, Gigwise, Silver Soundz.








[]I C2 | I Get
[]J C3 | Version

For the newest L/F/D/M drop and his first for Beat Concern, Richard Smith serves up a plate full of his deepest, sizzling cuts that bring dance floor heavy workouts and run the field between acerbic Electro, off-kilter dark room EBM and woozy bass workouts.

After muscular releases on Optimo, Clandestine Traxx and Ecstatic plus regular collabs with Dom from Factory Floor as Green Gums / Bronze Teeth on Diagonal and Opal Tapes, 'Tea Ceremony' opener 'Fang' moves the L/F/D/M project forward by throwing the listener straight into the eerie fairground feels, laid over metallic acid baselines, microscopic hats and pounding kicks that seek to overwhelm as well as inform. The giddy aggression of 'Gold Foil' folds crunching distortion into 120 bpm jacking Chicago territory before closing Side A with the tight ethno-percussive jammer of 'Cylinders Vari II'.

The second side carves a path that starts at the minimal bouncing bass and hardcore of 'Ox' via heavy acid euphoria of 'Skin Slips' that needs to find itself in the golden 3-4am slot on a sticky dance floor this summer, before winding down into the Industrial machine funk of 'STR8 Thick' that clips and clangs all the way.

This new Chicago based label is runned by Steve Poindexter and Traxman. The first release comes also from the label heads.
Track A2. is an remarkeble co-production between Steve Poindexter and legendary Armando. On B2. Traxman remixed Armandos "Snare yo Azz off".
Must have - not only for all Chicago House fans!

Repress

Modularz Label owner Developer presents his first LP Sold in Three Parts A,B&C
The Title named "In Pure Form' is a real wealth of work that developer has been creating over the last year. Its a fairly large catalog of music focusing on raw rhythms, strong tools and powerful funk fueled techno.
We do advise that this is not your average concept album with ambient and break beat type pieces that the market is flooded with - but instead a more straight to the point no filler type of LP.
This is a massive selection of functional tracks direct from the Developer factory of techno. Already a huge amount of support and positive feedback received on this release from the global heavyweights currently playing a selected amount of tracks from this killer release.
First pressing CLEAR vinyl

African Scream Contest 2

A great compilation can open the gate to another world. Who knew that some of the most exciting Afro-funk records of all time were actually made in the small West African country of Benin Once Analog Africa released the first African Scream Contest in 2008, the proof was there for all to hear, gut-busting yelps, lethally well- drilled horn sections and irresistibly insistent rhythms added up to a record that took you into its own space with the same electrifying sureness as any favourite blues or soul or funk or punk sampler you might care to mention.

Ten years on, intrepid crate-digger Samy Ben Redjeb unveils a new treasure- trove of Vodoun-inspired Afrobeat heavy funk crossover greatness. Right from the laceratingly raw guitar fanfare which kicks o Les Sympathics' pile-driving opener, it's clear that African Scream Contest II is going to be every bit as joyous a voyage of discovery as its predecessor. And just as you're trying to get o the canvas after this one-punch knock out, an irresistible Afro-ska romp with a more than subliminal echo of the Batman theme puts you right back there. Ignace De Souza and the Melody Aces' Asaw Fofor" would've been a killer instrumental but once you've factored in the improbably-rich-to-the-point-of-being-Nat-King-Cole-influenced lead vocal, it's a total revelation.

The screaming does not stop there, in fact it's only just beginning. But the

strange thing about African Scream Contest II's celebration of unfettered Beninese creativity is that it would not have been possible without the assistance of a musician who had been trained by the Russian secret services to "search and destroy" enemies of the country's (then) Marxist-Leninist president Mathieu Kerekou.

Already familiar to fans of the first African Scream Contest as a mainstay of ruthlessly disciplined military band Les Volcans de la Capitale, Lokonon André vanished in a cloud of dust at Ben Redjeb's behest with a list of names and some petrol money, only to return a few days later having miraculously tracked down every single name he'd been given. The source of this Afrobeat bounty-hunter's impressive people-finding skills - his training with the KGB - highlights the tension between encroaching authoritarian politics and fearless expressions of personal creative freedom which is the back-story of so much great African music of the 60s and 70s. Happily, in this instance, Lokonon was tracking the artists down to oer them licensing deals, rather than to arrest them.

Where some purveyors of vintage African sounds seem to be strip-mining the

continent's musical heritage with no less rapacious intent than the mining companies and colonial authorities who previously extracted its mineral wealth, Samy Ben Redjeb's determination to track this amazing music to its human sources pays huge karmic dividends.

Like every other Analog Africa release, African Scream Contest II is illuminated by meticulously researched text and eortlessly fashion-forward photography supplied by the artists themselves. Looming large - alongside Lokonon André - in the cast of biopic-worthy characters to emerge from this seductive tropical miasma is visionary space-nerd Bernard Dohounso, who laid the foundations for Benin's vinyl predominance by importing and assembling the turntables that would play the products of his Bond villain-acronymed pressing plant SATEL, a factory that would revolutionise the music industry in the whole region.

The scene documented here couldn't have been born anywhere else but in the Benin Republic , and the prime reason for that is Vodoun. It's one of the world's most complex religions, involving the worship of some 250 divinities, where each divinity has its own specific set of rhythms, and the bands introduced on the African Scream Contest series and other compilations from that country were no less diverse than that army of dierent Gods. At once restless pioneers and masters of the art of modernising their own folklore, the mystic sound of Vodoun was their prime source of inspiration.

One especially irascible Vodoun-adept was Antoine Dougbe, who styled himself The devil's prime minister' while turning ancestral rhythms into satanically alluring modern beats. As Orchestre Poly-Rythmo songwriter Pynasco has observed sagely, Evil is not elsewhere, evil extends into the house'. And African Scream Contest II is a gloriously cinematic road-trip through an undiscovered realm of music lore whose familiarity is every bit as thrilling as its otherness.

Written by Ben Thomson, March 2018

Mike Huckaby, Bergqvist, DJ Sports, Raam and LNS remix 'Deep Soundscapes', Takecha's album recently released on Sweden's Love Potion.

Released in March, the album incorporates Takeshi Fukushima's work between 1990 to 2013 and affirms why the producer is such a respected figure within Japan's electronic music scene. Now his compositions have been remixed by some of house music's best, featuring renditions from Detroit's Mike Huckaby, Aniara's Henrik Bergqvist, the elusive Raam, Firecracker and Regelbau's DJ Sports, as well as Wania and Freakout Cult's LNS.

Mike Huckaby inaugurates the release with his sultry take on 'Low Sentiment', blending deep synths with murmuring vocals to forge a proper deep house cut. Bergqvist then remixes 'Rhodes Deep' creating a bouncy minimal cut incorporating the original's scintillating melody alongside meandering percussion and twisted effects, making way into DJ Sports' remix of 'Gradual Atmosphere' with its intricate breakbeat drums and dreamlike atmospherics. Raam then reinvents 'Calm Imagination' taking it into subterranean territories complete with infectious keys, until LNS ties it all together with her mesmerising beatless reimagining of 'Factory 141'.

The anonymous underground figure of Phoboz is associated with one colour - black. Not only is his online presence a mystery, with alternative stage names such as Doghead, Phaseliner, and Parseq. He is also connected to the well-respected Motorlab label, whose releases from the outset have been devoid of portraiture, biographic information, or textual support. Black covers, a few silver symbols of factory hardware, and nothing more.

Nonetheless, one Russian venue online has referred to Phoboz's earlier work as 'digital music for sentient people.' There's a vague connection between darkness, industry, and Russian feelings of late. Actuality is black.

These same emphases define the newest release by Phoboz on Resonance Records, entitled 'Flow' and overseen by Moscow's techno kingpin Nikita Zabelin. Forty minutes of resonant, insistent beats, straight from the gut of some abandoned factory. A heavy, even thunderous tradition fades to black, leaving the echo of prior decades to repeat itself, over and over. Even the titles of this release speak of something lost in the dark: 'Forgotten Planet' or 'Shifted Bias.' One tradition has evanesced; a future equivalent remains vague.

Phoboz gives voice to that shift from erstwhile desire to present-day drive, from industrial progress to post-industrial flow. The sounds of a forgotten culture.

"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."

'Y.O.U' is an emotive album of tripped out ambient hip hop instrumentals by FROM, written and recorded in the mid 90s under Trevor Jackson's infamous production persona The Underdog. Originally planned as a vocally-led, song-based project that should've surfaced between his production for The Brotherhood's legendary British hip hop album 'Elementalz' in 1996 and his acclaimed debut PLAYGROUP release in 2001, for multiple reasons it hasn't seen the light of day, until now.
Only Available as a ultra limited edition Vinyl and CD release, the LP consists of 11 tracks. Dream-like synth lines, ambient melodies, blissful guitars, raw beats and soft, fractured vocals draw you into a hallucinatory 12bit world. Drawing on Jackson's progressive and jazz rock influences as well as psychedelia and early electronics, the album closes with 'Belladonna'- a piano-sampled homage to the east coast golden age hip hop pioneers. NB: The CD features a longer version of 'Veratrum' not available on the vinyl version. All created on an Akai S950 mono sampler (limited to only 20 seconds sampling time), an Akai MG1212 12 channel mixer (which recorded on Betamax style tapes) and primitive outboard gear, Jackson honed his skills from his bedroom, where he produced the majority of his output at the time. With a huge collection of obscure vinyl, he dug deep into uncharted territories for samples and sound clips
- using material no one knew about (or would think about touching) in the mid 90s. The Underdog's initial releases were on Jackson's own Bite It! recordings label, which was started in 1991. A unique platform for UK hip hop with a visual aesthetic and ethos more akin to ECM and Factory
than other rap labels, its mission was to push artists beyond musical and cultural limitations prevalent at the time.
Home to artists like The Brotherhood, Scientists of Sound, Little Pauly Ryan and Lewis Parker (who later signed to Massive Attack's Melancholic label), Bite It! became a great success;
finally British rap had artists and releases that looked and sounded as good as their revered American counterparts. In 1993 Richard Russell (who had just started running XL recordings) asked Trevor to remix House of Pain, resulting in a top ten record, which helped launch Jackson's musical career via further remixes Massive Attack, Run DMC, U2, The Cure and countless others. Off the back of his remix success, The Brotherhood signed a deal in 1994 with Virgin Records. Their 'ELEMENTALZ' album was produced by Jackson and is still lauded by many as one of the finest British hip hop albums of all time.
Jackson continued to remix and produce as The Underdog until managerial issues forced him out of the project he'd been instrumental in instigating.
Soon after his close friend and manager tragically passed away - which when combined with the UK hip hop scene becoming increasingly volatile and the moral demise of rap culture in general - convinced Trevor to hang up his hip hop hat for good.
After leaving The Brotherhood he started Output Recordings. Internationally and sonically diverse, it gave Jackson a free reign to do as he pleased, with genre twisting releases from the likes of Fridge, Four Tet, Sonovac, Colder, his own PLAYGROUP project, The Rapture and LCD Soundsystem. With a non-compromising attitude, strong DIY aesthetic and consistently groundbreaking releases across its ten year life between 1996 and 2006, it became one of the most important and respected independent labels in the world.

Superb mental techno, acid, supported by a light pumpin beat... very thinlace of hardware hight precision sounds...

Irrisant.

Ike Yard recombine their music looking across decades of post punk, electronic, soundtracks and come out with some of their best yet and enough to last the next 20-30 years (in Ike Yard´s very own words). Originally founded in 1979 New York City, members Michael Diekmann (keyboard, guitar, vocals), Kenneth Compton (programming drums, synths arrangements, bass, guitar, vocals) and Stuart Argabright (programming drums, synths arrangements, distortion bass, keyboards, metal perc) reformed the band once in 2007 and again in 2010. Each time different and with new ambitions. This time 'Sacred Machine' EP is defined by detailed drum layers supported by multiple basses and keyboards, some off-timing beat patterns that turn in a second of synchrony into a straight four on the floor kick and first time vocal collaborations.

Composition wise 'Sacred Machine' EP is recorded as a 'rehearsal'. As for Ike Yard songs would not be done so very many times in their existence, all threw in on each piece as they came into being. It sounds like a group that could have been doing records in Anthony Burgess and Stanley Kubrick´s 'A Clockwork Orange'. 'Night Klub' revisits Ike Yard´s original 'Night After Night' from 1981 EP. 'Sacred Machine' might be familiar to those who caught Ike Yard dates in Europe between 2007-2014 as one of the extended jams prepared for the dark ambient shows. 'Tear Drop' night airport music with sweet vocals by Camella Lobo of Tropic Of Cancer is followed by 'Spit' that explores Ike Yard NCR style with jittery beats, clomping, stomping cross cut beats. 'Slaves Of Janet' featuring Erica Belle brings to mind scenes in an S&M parlour with unused lyrics from the Factory America LP recordings.

Repress

Part 1 of Slam's Reverse Proceed Interpretations with reworks from Planetary Assault Systems, Flug, Edit Select & Slam themselves.

Confirmed Press & Promo:

Press - * DJ Mag, Mixmag, Tilllate, Raveline, Groove, Daily Record, Edinburgh Evening News, TopDJ Ua, Nightshade Mag, Nitebeat, Posivision, DJ Times, Time Out NY. Sound Effect Magazine

Radio - * Carl Cox Global, Laurent Garnier Radio, Kiss 100, Ministry of Sound, Galaxy Network, Radio Scotland, Dinamo FM, Acik Radio, BBC Radio Ulster, Future Radio, Reconwarriors, The Beat Delivery, Anton Banks, XM Satellite Radio, RTE. Dance Under The Blue Moon (Anja Schneider), WHCR, KVRX, Power FM, Dinamo FM, Rise, Pulse Radio, Proton Radio, BBC Radio Cardiff, The Radio Dept, Fresh FM (Holland), Mystic Vibes (NYC), Show B, An Taobh Tuathail, RTE RnaG, Untitled Music, Ibiza Sonica, 88.1FM WESU (USA), Sutil Sensations. Global Dance Sessions

Online - * Soundwall.IT, Ibiza Voice, Radio Magnetic, Mixxradio.fr, CHRY, WESU, Untitledmusic, Ibiza Global Radio, Paris_One Reverse, Doce Pulgadas Spain, Ibiza Sonica, Andres Aguirre - KVRX student radio, FACT, Little White Earbuds, mnml ssgs, Gridface.

Furfriend strong-arm their way on to Perc Trax after a run of eyebrow-raising releases on Berlin powerhouse Killekill. Vocal-led techno is not something you hear done well every day but Furfriend's below the belt lyrics fused with their percussive, bass heavy techno has proved the exception to the rule. Their filth driven releases fit perfectly with the anything goes atmosphere of Berlin, but also connect with the UK's love of both tougher techno and close to the bone humour.

'Endless September' is classic Furfriend, a foundation of chest beating kicks and sub-bass provide the perfect platform for their most politically charged release to date, taking pot-shots at everyone's favourite Eastern European aggressor whilst also spotlighting the ongoing global fight for LGBT rights.

Perc is known for delivering remixes that turn a track inside out, yet keep the essence of what makes the original track great intact, with his remixes of Factory Floor and Daniel Avery being recent examples. Here he does it again, as the key vocal message of the original mix is looped to infinity over jabbing kick drums and a snare drum volley sharp enough to cut through any sound-system.

Next up is L.I.E.S. / Avian artist Vapauteen (AKA Shawn O'Sullivan & 400PPM), who adds his own spin on the track, keeping the tiniest fragments of the original's vocal and building two completely different analogue environments around them, serving up the most experimental tracks on the release, but which also perfectly compliment the more club focused mixes...

Auf dem Album feiern Künstler wie Angelique Kidjo, uestlove (The Roots), M1 (Dead Prez), tUnE-yArDs, Kronos Quartet, Baloji, Spoek Mathambo, Nneka oder Tony Allen in dreizehn grandiosen Neubearbeitungen Fela Kutis musikalisches Vermächtnis. Außer der Compilation veröffentlicht Knitting Factory Records ebenfalls am 15. Oktober die letzten sechs Titel in der Reissue-Serie von Fela Kutis Gesamtwerk, die im März dieses Jahres mit der Compilation "The Best Of The Black President 2" und der ersten Staffel der CDs begonnen hatte.

Perc Trax is proud to unveil the 2nd 12' to be taken from Forward Strategy Group's debut album 'Labour Division'. Since its release at the end of May the album has received across the board DJ support and press coverage with a 4/5 review from Resident Advisor and even a full page in the Guardian about FSG and Perc Trax. The album has also had launch parties in Amsterdam and London and has seen the FSG guy's crossover outside of techno to be featured in the wider music press including The Quietus and Stool Pigeon.

This 2nd 12' rounds up some of the most popular tracks from the album giving them the vinyl release they truly deserve. First up is the most popular club track from the album; 'Elegant Mistakes' where raw industrial sounds meet with broken beats that hint back at classic UK hardcore. Completing the a-side is album opener 'Ident', one of the LP's most melodic moments and proof, if it was ever needed of Patrick and Al's wide ranging influences and production skills.

The b-side opens with 'Nihil Novi', an album favourite that appeared on the first Labour Division 12' as remixed by Factory Floor. Now the original mix appears on vinyl and it's echoing, slow-morphing stabs sound as cutting as ever. A DJ favourite since it was initially promo'd, it now sounds even better on vinyl. Closing the EP is a re-edit (sarcastically called a 'radio mix') of 'Metal Image', where a world of atmospherics opens up on top of a slow droning kick drum. A perfect set-opener or mid-set Dj tool it is demonstrates the variety that is on show across 'Labour Division' and is one of many reasons for the albums excellent reception.