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30 years as a full-time touring nightclub DJ sounds like one hell of a career, and for Kenny Summit it's as much of a milestone as it is a turning point. Having shared the stage with greats such as David Byrne, Stevie Wonder, Chaka Khan, George Michael, Kylie Minogue and Prince over the years, Kenny took that influence and inspiration and decided it was time for him to get behind the mic too.

‘Burnin’ is a song written, produced and performed by Kenny Summit that speaks on a desire that's been burning inside of him for three decades. Across those 30 years he’s made many an influential friend too, three of which come on board to remix ‘Burnin’ - the late great Paul Johnson, D&B icon DJ Aphrodite and Brooklyn legend DJ Spinna.

"I caught the fever for house in 1990 and by 1992 I was booked for my first DJ gig at New Jersey's famed Zanzibar nightclub where house legend Tony Humphries held court on a weekly basis. Something changed that night, a fire started and its been building, growing inside of me and now it's time to put paper to pen and write my own songs."

Clearly influenced by the artists Kenny's worked with over the years, ‘Burnin’ is a culmination of one man's journey through dance music; from the Nile Rogers-ish 70s guitar riff to the whining Steely Dan-like keys, to the lush strings and synth pop stabs that would make Moroder blush, the track itself is masterfully produced and punctuated with Kenny's unique uplifting vocals, sang in a manner as if David Byrne and Boz Scaggs were put together and yet still very uniquely Kenny Summit.

Up on remix duties the late great Paul Johnson, Chicago's shining star, serves up a dark, very much after house vibe, that still keeps that trademark Paul Johnson sound. Drum & Bass icon DJ Aphrodite applies his unique sound to ‘Burnin’ with a stellar remix the D&B community has been patiently waiting over three years for. And finally, long-time friend, Brooklyn's DJ Spinna steps up, who after hearing the track commented 'this needs a dope DUB! Leave it to me, imma hook you up bruh!'. The Discoelectric Dub does not disappoint.

Jessy Lanza has always made music that perfectly suits the mood - whether it's the heads-down trance of the dancefloor or that hazy, post-club bliss. It's no surprise for an artist that takes electronic music's most intoxicating sensibilities and effortlessly reimagines them as experimental pop and R&B. The Canadian singer, producer and DJ from Hamilton, Ontario, has trodden an inspiring path which led to 2013's boldly minimalist debut Pull My Hair Back, released on revered UK label Hyperdub. Gorgeously complex follow-ups Oh No - shortlisted for Canada's prestigious Polaris Prize - and 2020's All the Time crowned her as a singular talent in the left-of-pop sphere. It's with this genre-bending approach that Jessy Lanza presents her entry for the DJ-Kicks series - a sprawling, club-indebted odyssey that draws you in closer and closer with each listen. Recorded this summer, the mix is an incisive snapshot of her emotional landscape during the past 18 months. In 2020, with nothing but a van, a few personal belongings and her musical gear, Lanza and her partner relocated from New York City to the Bay Area to ride out the pandemic. A change of scenery, buoyed by the slower pace of their new home, gave her a fresh perspective during a worldwide screeching halt. Jessy Lanza's DJ-Kicks mix also arrives as a divine stroke of timing. As the world slowly starts to re-open, it's a portal into the ecstatic energy of the dancefloor; an emblem of genuine healing - both personal and communal - that transports listeners to a state of pure euphoria.

Bona Fide & Luka Sambe deliver us four beautiful tracks for our second release on their Lost Orchestra EP.

Stuttgart based producer Detmolt returns to Underyourskin Records for his second EP, 'Memories', on the label this year. The EP's name giving track is a downtempo synth led pleasant fellow accompanying its listener through the different seasons of the year that are reflected by the various changes of chords within the track that still manage to connected each change in harmony. 'Kaos' hits off strong with a lead synth that changes within the course of the track and is subbed by different chords in the treble and bass frequencies to spread its atmospheric soundscapes on all possible musical levels. The EP's last track comes from Feines Tier label-boss Philipp Fein who remixed 'Memories'.

SAXON GO FULL CARPE DIEM WITH THEIR LATEST STUDIO RELEASE

Saxon, those seminal British Heavy Metal Heroes hailing from Barnsley, UK, will release Carpe Diem on February 4th 2022 through Silver Lining Music. Ten titanic tracks bristling with still-clad riffery and proud intent, Carpe Diem is the statement which reminds heavy metal fans worldwide who the true masters of British Metal are, drawing on a variety of ingredients from their career to forge what is Saxon’s most dynamic release in many a year.

"It all starts with the riff,” says frontman and co-founder Biff Byford, "if the riff speaks to me, then we’re on our way. It’s a very intense album, and that’s all down to the fact that the essence of a great metal song is the riff that starts it, and this album has loads of them."

From the title track’s roll-back attack to the incessant speed and power of “Super Nova”, this is Saxon at their purest and most definitive, aggressively parading the pure metal flag and imploring fans old and new to gather and celebrate the very best of both Saxon and the genre itself. “All for One” has the stomp and pure power of a “Princess of the Night” while “The Pilgrimage” is classic “Crusader”-era Saxon. Produced by Andy Sneap (Judas Priest, Exodus, Accept and Richie Faulkner) at Backstage Recording Studios in Derbyshire with Byford with Sneap mixing and mastering, Carpe Diem strikes the ear as one of the most essential British Metal statements of the last few years, one which will ignite the joy in stalwart supporters and attract a whole new legion to the Saxon fold.
“I love that sort of fast metal. I love Princess of the Night and 20,000 FT and I try and bring that style of Saxon into the music now but in a bit more modern style” affirms Byford “but it’s the same five guys playing it and singing it, so I think we don’t really sound like an old band on records because we’re not really sitting back on our past success. We’re always trying to make a great album.”
“We want every album we make to go platinum,” says Byford defiantly. "We never make an album that we don’t expect to be fantastic because there are no laurels around here, only a commitment to the best songs and riffs we can write.” Saxon have certainly made sure to Seize the Day; be sure you join them.

The third release from South Italy based label, Soul Departure Recordings, as label head Kikko Esse comes correct with four soulful house heaters.

On the A, ‘I Got Want You’ and ‘Red Wine’, the former a heads down club thumper featuring Del Carmine and the later a piano-laden, Latin influenced bomb.

Flip it to find ‘Midnight’ a Kerri channelling cut from the depths and ‘Believe Me’ a sweet soulful gem with blistering vocals and seductive sax featuring Polose and Baldassarre.

black.round.twelve presents the second release on its imprint, signed by the Romanian talent Pîrvu.

Dance Refuge EP’ is a 4-track EP spanning from minimal house to broken beat, showcasing a collection of music drenched in vibrant and sincerely playful energy – a sonic naivety of sorts, very akin to Pîrvu’s own personality.

Both ‘Twelve’ and the title track ‘Dance Refuge’ fill the A-side of this record with a positively warm tone where the groove is king. Razor-sharp drum programming shines through compositions with hints of acid, profoundly accurate sub-basses, and just the right amount of atmosphere, creating a musical spectrum very prone to those floating, early-morning dancefloors. The flipside’s ‘Space’ follows the same groove-led narrative introduced previously and infuses it with an extra dose of playfulness and feel-good sound design before toning it down to the introspective ‘Lver,’ finishing this EP with just the right amount of breaks and warmth.

As usual, the cover of the EP was (undoubtedly) drawn and painted by the talented Berlin-based Juli Jah, beautifully portraying Pîrvu.

Following on from the riveting first part of Romanian stalwart Faster’s Transparency EP, Unic unloads with an explosive Part II. Featuring two more expertly crafted long players that boom with magnetic energy and poise, Faster’s innate talent is once again cemented on glistening 12” wax. Expanding Unic’s discography into exciting new territory.

The Sound Of Love International 004 is a particular poignant collection of rarities, collectables and unearthed gems, pulled together by the Italian DJ and crate digger Budino. For the last two years, the pretty coastal town of Tisno in Croatia has been devoid of the (now) legendary Love International week-long celebration of music, leaving thousands of revellers and regular devotes with only the sounds of Love International to keep the spirits strong until the next time friendships are rekindled and dance resumes under the sun and the stars. Luckily, the fiesta is scheduled for a return to Tisno from 13th – 19th July 2022.

Budino, AKA Valentina Bodini, has a lifelong passion for vinyl, amassing an enviable collection of multi-genre LPs and singles via her years spent in Italy and now in Berlin. As resident DJ for Discodromo’s CockTail d’Amore parties, her enthusiasm for music and digging knows no boundaries, and her instalment into the Sound Of Love International series gives us an aural insight into her musical realm.

Musically, The Sound Of Love International #004 is a smorgasbord of sound. Opening with the glacial tones of Peter Seiler’s 1986 new-age gem ‘Serengeti’, the twelve track selection glides through proto-house, tribal ambience, industrial EBM, balearic dance and so much more. It’s a testament to the ground- breaking nature of these tracks that most of the music here was originally released some 30-40 years ago. Inclusions from Oliver Leib’s The Ambush project, Vibes Of Rhythm and Scott Edward stem from the post house & techno explosion of the early 90s, whilst the early proto-electronic experiments from the likes of Kirlian Camera, Clock DVA, Bourbonese Qualk and Pyrolator are welcomely revived for a new audience. Interestingly, a flexi-disc only release of ‘Hark’ by William Orbit & Laurie Mayer’s early 80s Torch Song project is also included here, elongated by Budino herself in the edit suite. Two brand new productions from DJ Blasy and Budino & Berko ensure that business is brought bang up to date, offering a unique and modern spin on the sounds of Budino, and her tantalising selection on this compilation.

Following the already classic Wamono A to Z trilogy, 180g presents an exceptional collection of jazz funk / rare groove tunes recorded in the mid-seventies at the Nippon Columbia studios by three giants of Japanese music: arranger Kiyoshi Yamaya, koto legend Toshiko Yonekawa and shakuhachi master Kifu Mitsuhashi.

- 180g heavy vinyl pressing, reverse board jacket

- Fully licensed Nippon Columbia masters available for the first time outside of Japan

- Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland

- Artwork by Nker

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Born in 1932 in Tokyo, Kiyoshi Yamaya started his musical career in 1953 when he played in various jazz bands in town. In 1957, Yamaya joined Nobuo Hara's famous jazz big band Sharps & Flats as a baritone saxophone player and started composing, arranging, and recording for them and other big bands. He became a key jazz figure in Japan in the sixties together with Norio Maeda and Keitaro Miho, both jazz pianists, composers and arrangers, by forming the Modern Jazz Three Association – which aimed at improving the level of Japanese jazz composition and arrangement. In the mid-seventies, his Contemporary Sound Orchestra explored jazz funk fusions with traditional Japanese melodies and instruments such as the shakuhachi, koto, biwa, and shamisen. These works were recorded for a series of panoramic Japanese albums released domestically on Denon and Nippon Columbia, from which the tracks on this compilation are taken from.

Toshiko Yonekawa, born 1913 in the city of Himeji, not so far from Osaka, is the eldest daughter of koto and shamisen master Kin'o Yonekawa. She started studying both instruments with her talented father from the age of 3, played in her first concert at 8, and was only 12 years old when she first appeared on national radio. Her unique style of koto playing is widely recognized due to the extreme accuracy of the intonation and rhythm, as well as the unequaled beauty of the instrument's sonority. After a life decorated with awards and prizes, Toshiko Yonekawa was named a Living National Treasure in 1996.

Born in Tokyo in 1950, Kifu Mitsuhashi is a great master of Koto style shakuhachi. After completing the NHK Hōgaku Training Program in 1972, Mitsuhashi became a member of Pro Musica Nipponia, a group of leading composers and top-ranking musicians devoted to performing a wide-ranging repertoire of classical and contemporary compositions from both Japan and the West – in which all music is performed by traditional Japanese musical instruments. Mitsuhashi has toured the world for hundreds of recitals, also as a soloist, and has performed his art with the greatest ensembles such as the BBC Symphony Orchestra and the Berliner Philharmoniker. In 2020, Kifu Mitsuhashi was awarded the Order of the Rising Sun.

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All tracks selected and compiled by Greg Gouty and Maxime Brottes, with the assistance of Ryohei "Nitchiku-kun" Tanaka.

All tracks licensed by Nippon Columbia, Japan.

Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.

Artwork by Nicolas Kerembellec (Nker.fr).

Proofreading by Brian Durr (Diskotopia).

Executive producers: Greg Gouty and Maxime Brottes.

180GWALP04 - Manufactured and distributed by 180g.

When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late 80s. It is now being acknowledged as one of the best soul albums of all-times. Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by Jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favourites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark. Very little is known about Alice Clark and the legendary two-day session. All is known is she only ever recorded one album and passed away in the early 2000s. Wewantsounds will tell the Alice Clark story for the first time and give a unique insight into the birth of this cult album with a deluxe release that will pay tribute to her talent.

One of my first record releases was on Traum Schallplatten in 2007. I was living in Berlin and Traum was at its peak launching acts like Extrawelt, Dominik Eulberg, Gabriel Anada, Minilogue, Fairmont… The era of melodic minimal…

The release of Luftlust hit the big DJ's like Sven Väth etc. And I was truly overwhelmed by the support. But the version on the 12" was actually pitched up 5 BPM. And in the end the mastering was not in my personal preference. Watering my feel of it, once or twice a year people actually ask me to do a remaster. Over the years it has been a track circulating the web and playlists, haunting me.

Last year I dug in the past and actually wrote a masters exam in philosophy about being a youngster in the techno scene and how to keep up creativity while working with record labels. Somewhere in that process I decided to face the old ghost and make it happen. Time was ready for the re-release of Luftlust, on my terms on my own label Kranglan Broadcast.

Justus Köhncke Remix
For a time frame of a decade I have asked Kompakt veteran and Whirlpool Productions legend Justus Köhncke to do a remix on my Kranglan imprint. Herr Köhncke to me (and to everyone who has followed Kompakt) is one of a kind! A punk soul, dead serious while smiling, always putting hooks and fragments out of music history on Kompakt sound plates with precise grace… The last years he have replied he's been busy in the studio with Can member Irmin Schmidt, working on soundtracks but... suddenly one day when I wrote the man he said "I love Luftlust, send me the stems".

Listening to Justus interpretation I was blown away… like riding a cabrio through the German landscape of fields and deciduous forests a sunny day in late May! And wait for that outro bridge at 5:56! Like being hugged by the warm mother autumn.

Özgur Can Remix
Anjuna Deep cofounder Özgur Can and I have known each other since high school. Özgur was the first DJ I ever booked to one of my early raves in the forests of Nacka. From releasing our first records with our common buddy Petter on Peter Van Halls label 'Deep' we have walked a parallel path in life, Özgur with a wider span of releases and 100's of nights at sweaty dance floors. No one does the deep driven heartfull arpeggios like Özgur. They swell and they swirl. A true Music lover and true talent!

Lust
Time has flewn since 2007, and that winter break in Barcelona 2006 hanging out with James Holden and the Border gang at Razmataz… the weekend when I actually started working on Luftlust…

Working on a re-release of Luftlust I just got hit by lust to work a version of it from the position where I am at, the 2021 me. I went with lust and it just happened a late summer night in Stockholm being by myself for a brief moment doing what I love the most, making music.

Luftlust Original 120BPM Version
And at last the never released original version of the title track. Correct tempo as it was written. Mastered by Andreas Lubich aka Lupo, the very person to master this type of music if you take a brief glimpse at his back folder! Finally!

I love this project, and I love making it happen at Kranglan Broadcast. Bringing together thoughts and people you have thought of bringing together for a long time. Lust KLN014 is here.

Secret Garden series is back with some dope killer house vibes. Clever and deep drum-machine-tracks that will fill your body, mind and soul. A brillant and hypnotic heavyweight release!

'Cryptic Speech' opens this release with the thump of UMEK’s trademark kick drum and a pulsating synth line. Dramatic stabs lead to the haunting breakdown which provides an epic hands-in-the-air moment before the percussions slams back in.

'Bounce That Ass' has a jacking sound that takes influence from Chicago's ghetto and booty styles. Chunky percussion and UMEK’s own personal twist add a modern take on the tried and tested style loved by dance floors all over the world. The growling bass stabs, muffles vocals and snare rolls combine to create the fist pumping groove.

'Killer' tips its hat to the old school rave scene by utilising retro style synth stabs and a broken beat percussion loop in its timeless breakdown.

'Navigating' sees a welcome return to the UMEK's classic hoover synth arpeggios that gave his early tracks such a stand out sound, and the raw energy is nothing less than superb!

repressed !

Some people are just not destined to have enough sleep.When you don't sleep enough the world appears to be a different place, compared to the way it is when the mind is fully rested. In such cases very different scenarios may occur.
Starting with a dreamy melody of Roma Zuckerman's 'Sleep not found', which inspired the entire 008 album, and ending with a thirteen minute live recording by a_000, the side project of Alex Backdrop, the entire record has a dreamy and tripped out flow. 008 continues the tradition of gatefold double EPs as conceptual album.All tracks are selected around a particular story, a trip, and presented as a continuous sonic landscape.All tracks are structured in a way that they can be mixed one with another an endless amount of times making a continuous loop, a trip, that needs only end when the party stops. Kraviz works without release dates or deadlines, enabling her to achieve a certain sound bank to shape the story, unmasking the thoughts and unravelling like a dream. A1. Roma Zuckerman - Sleep Not found (North Edit) Apart form the fact that he leaves in Krasnoyarsk in the middle of Russia, very little is known about Roma (short version of the name Roman). But listening to his music and engaging in random short conversations late at night makes it clear that there are really a lot of things going on Romas mind... Minimalistic yet emotionally complex, his music always stands out with it's murkiness and signature moodiness that Roma creates like nobody else.
A2. Deniro - G Deniro continues the record's journey with his new live cut that like pretty much everything he did so far is a beautiful sparse atmospheric groover. He says he wanted it to be angry and it its done with triggering synths from the tr909 and tr808.
B1. Maayan Nidam - Infinite Rattle
Maayan was born in Tel-Aviv. She does not like computers and prefers to record her music live using hardware only. In order to do so she built her incredible studio in Berlin where she recorded "Infinite Rattle'.There is much more to come from Maayan on
B2. Bbbbbb - Prins Polo Caramel milkshake.
Side project by Bjarki-bbbbbb. Like any other normal Icelander, Bjarki really likes ice cream. In Iceland they are absolutely crazy about it.They walk the streets, ice cream in hand, even when its freezing cold outside. But even more than that Icelanders like Milkshakes with all sorts of added cookies and candies. Bjarki's favourite is called Prince Polo after the name of a chocolate bar. He always believed Prins Polo was an Icelandic brand but a couple of months ago somebody proved him wrong.
C1. Exos- dub jazz
In Iceland Exos is a legend. Everybody knows him there. He's been playing incredibly powerful and technically advanced techno sets since the late 90s and releasing delicious dub techno on Icelandic label Thule. Nina always appreciated his subtler, dubbier side, and this short recording a the continuation of it.
C2. Maaayn Nidam - Justice for some
This second live recording was a perfect fit for this album. Maayan has managed to create a particular mysterious night time dreamer here. Sound wise it's even more unique. It took a few times to get the master right, because we wanted to keep the original breathing of the machine that has captured a seriously freaky vibe. Maayan has always been one of Nina's favourite DJs as they share a similar attitude towards music. But after this tune she has also reserved a place in Nina's collective of favourite producers. D1. A_000
This is a side project of Italian native Alessio Meneghello (Alan Backdrop) & Enrico Voltan. . A beautiful 13-minute sonic journey.

Back In Stock!

The debut collaboration between techno alchemists Ben Klock and Lucy will probably provoke quivers of anticipation before a single note has been heard. After all, both producers have carved out names for themselves as scene innovators at what they do, and both have already proven that they can more than capably work in a duo format without sacrificing an iota of their unique aesthetics: in Lucy's case, there has already been the sublime Zeitgeber pairing with Speedy J., and Klock has joined forces with the likes of Marcel Dettmann to craft some of the more memorable output from the Ostgut Ton label. This new release makes good on each producer's talent for working with epically unfolding tracks, maintaining a strong command of both 'drone' and melodicism, and envisioning sound as a kind of inter-dimensional mass transit. As the record indicates, things can get very interesting when the two working methods superimpose perfectly, but can be just as interesting when the two fall slightly out of phase with one another.



Listeners familiar with the classic kosmische feel will be taken immediately by the opening gambit "Bliss," whose feeling of floating through the coldness of space is accompanied here by nicely warm production values. The bassline that introduces the subsequent track ("War Lullaby") is close to being a continuation of the opener's leitmotif sequence, although with a change in atmosphere that will keep curious ears from turning away too soon: an FX-shrouded voice delivers a monologue at once seductive and foreboding, followed by a confident kick thump with ephemeral trailing clatters in tow. This affective orientation pulses through the whole record well, building up to the second rhythmic track ("Santeria") which is the busiest and most engaging of the bunch. Here a variety of sonic flavorings are ritually thrown into the pot and allowed to simmer - fleeting snatches of conga, phasing zaps and rhythmic ricochets all make for a rich concoction that epitomizes the progress that has been made in techno music within this decade. The closing "A Ghost Love story," like the opener, is a non-'dance' piece, but is no less compelling for that fact: as a foam of white noise pans between the listener's ears, a slurred / pitch-bent refrain conjures the feeling of either entering or exiting from some erotically tinged hypnagogic state.



Speaking of which, the overall impression given off by this record is that of a special kind of reciprocity: that is, of dreams influencing reality and reality feeding back into dreams. The rhythmic intensity of these tracks, at once an indicator of a hard and immediate reality, is regularly complemented by oneiric flourishes that make the partitioning line between these two realms of consciousness less distinct. As the next chapter in the Stroboscopic Artefacts saga, and in the personal journeys of both Ben Klock and Lucy, it will contribute to the ongoing mission of all these parties: giving longtime fans what they want while expanding their consciousness and inquisitiveness.

The Tel-Aviv centered Yotam Avni officially joined forces with Stroboscopic Artefacts last year, turning in a sensual an invigorating entry for the Monad series. Thanks to his personalized fusion of esoteric and worldly sound elements, Avni immediately made a case to deliver more work to the label, and now he has done so with 'Perlude to Dybbuk,' the second in a new series of S.A. releases to feature the Oblique Artefacts visual team's distinct, elegant portrayals of scanned foliage. As with Avni's previous Monad contribution, the new Perlude to Dybbuk makes references - both in title and in sonic content - to the ancient Hebrew folklore of his homeland (a 'dybbuk' being a kind of limbonic spirit attaching itself to the body of a living human until it has successfully reached its final destination). However, the atmospheric, rather than overt, use of these references gives this record a level of dignity and quality as well as a premonitory feeling that hovers over the proceedings.The opening 'Avka (New Life)' opens with the twin stimuli of chthonic, rolling percussion and ambience that has become a modern Stroboscopic tradition, but ever so gradually deviates from the realm of the easily anticipated. Some of the surprises to be found here are sharp, organic drum fills and sighing strings that have an uncanny vocal quality to them. By the time a surgically clipped acid synth sample comes into the mix, the track has reached a simmering level of excitement and the listener's imagination will have license to reside in a virtual world seamlessly combining elements both ancient and futuristic.Dybbuk' temporarily situates listeners back in brutal modernity, with the first sounds heard being something like insistently slicing helicopter blades. Avni merely uses this as the foundation, though, for a genuinely unique construction whose shamanic beats, throttled horn and undertow of frenzied electronics combine to give the feeling of being menaced and eventually overtaken by a spirit entity. This piece shows just what Avni is capable when operating in a more aggressive, 'post-industrial' mode, and the result stands up with some of the best exponents of that genre.The finale 'Modern Matters' is the most readily club-friendly selection from the disc. This potent, floor-shaking and perspiration-inducing number superimposes resonant vocals from traditional Middle Eastern folk song onto this alchemical mixture of machine oil and sweat, and provides a romantic flair without resorting to naïve, touristic 'ethno-techno.' Avni's skillful dedication to counterpoint, and determination to make a finished form is more than the sum of its parts, shines through here and throughout the duration of this record.

Six years on since his latest appearance on the label's main series, Stroboscopic Artefacts boss Luca Mortellaro, aka Lucy, returns with 'Dyscamupia' - an introspective, multisensory techno triptych revolving around the core sequence of Albert Camus' classic existentialist novel, 'The Stranger'. Also known as the 'killing of an arab', this pivotal moment in Camus' seminal book - which also inspired The Cure their song 'Killing An Arab' back in the day, is here evoked through three variedly intense, deep and hypnotic techno variations - flexing from 120 to 130, onto 140 BPM - each of them translating a particular step in the author's minute, focal-shifting depiction of the unknown man's murder on the beach.

Embodying Meursault for a minute, Jason Snell lends his voice to the narrator and his inner demons, casting a strange, ominous spell on the club and its crowd. Willing to explore and dig up further into the textural wealth and crucial warmth of organic sounds and synthetic treatments, Lucy made wise use of the binaural microphones technology during the vocals recording process, greatly enhancing the immersive force of his compositions to create thoughtful, dystopic narrative bubbles that stand in their own right.
The first number, ' Dyscamupia (Forward)', happens before and right until the actual killing - hence time flowing at a metronomic, heartbeat-like tempo; the second cut 'Dyscamupia (Pause)' takes place right after the nameless man's death, when the narrator enters a kind of existential 'pause' and a whole new flow of consciousness begins; the third sequence, 'Dyscamupia (Backward)', plumbs the depths of the action itself as played backwards, like an equally hazed-out and dizzying reminiscence of the sad encounter's mechanism. Don't let its seemingly conceptual framework fool you though, like most of his past output 'Dyscamupia' also aims to bring dancefloors to a steady simmer, whilst maintaining Lucy's ascending momentum towards an all-round genre-busting, thought-provoking apex.

DJ Frankie, future reality: LNCY001 is music for the megalopolis. After a brief but bloody desynchronisation in ‘Cobwebs of Blood’, we are back to life. Welcome to the club, welcome to the slaughterhouse – this feverish dreamspace of inverted nightmares is a divine comedy of lacerated lust. A visceral affair, the A2 invokes the fleshy body horror Cronenberg without breaking stride. Young’uns take note: this is a masterclass of retrograde futurism. A high NRG macro trip ‘Sweet Chainsaw’ is the coronary artery of the bustling cityscape capturing the pulsating romance of the underground: a frenzied maze of industrial estates, a reclamation of the forgotten spaces, and above a call to arms – let’s be having ye.

This is a feeling which DJ Frankie continues to thread on the flipside, in equal measure sexy and sentimental, balancing the serious futurism of US electro with the nostalgic optimism of UK hardcore. Re-historicising seemingly disparate strands of electronic music into something of ‘Ravers Guide’ – The Future Sound of the Past.

In essence, ‘Cobwebs of Blood’ is an ode to dunted dancefloors – for those looking to escape & those looking to connect. Big luv to all the original party crews and dancefloor young teams who have kept the fire at 38 Gower Street burning for seven years.

Morrice is no less than a pioneer of Portuguese techno, churning out high-octane bangers and rave-tinged rollers alike from his hometown of Porto since the mid 90s. Lucky for us he didn't slow down, and his fresh offerings are as enticing as ever - we got our hands on some of the finest crop of Morrice's characteristically deranged, sonic techno and 'Back on Tracks' was born.

One can hear the realness of a legend-worthy path in dance music in every tough beat and in every bass line twist and turn: the opener 'Dirty Smack' is a raw, no-frills mutant banger that will throw even the most bashful raver into a frenzy, reminding us all why we miss dancing together so much. 'Stress Will Kill You' is a tense, paranoid techno roller featuring a super effective lead over an economic but super banging technoid beat&bass. 'Synth Lies' is another trip recalling Midwest movements and exuberant composers like Poindexter.

On the flip, you'll find the soulful depths of a warm 'Doctor' as well as the wonderfully Detroitian-via-Douro dream of 'Acorda', all silky pads and stabs. The record closes with a 'Dirty Smack' remix by Paraíso regular Violet who infuses the original with broken rhythms and percussive highlights.

Box Set w/ Hand-stamped LP, 36 page riso-printed book, Riso-printed fold-out poster, Stickers

"Phantom Seance Ballett is a boombox orchestra, Nō mimes, Vicky’s protection spells, Detlef’s psychic shuffles, a smoke machine, a strobe light chamber, painting, Margit Carstensen’s chiffre, Susie Greene’s insults, Schleim, Ebichu’s echoes and Anna Oppermann’s limbo."

Thus we welcome Lena Willikens & Sarah Szczesny's ethereal Phantom Kino Ballett project to Utter with 'Phantom Seance Ballett', an unusually tangible manifestation of what has become an on-going series of live performances and installations that incorporate sound, video, costume, still imagery and beyond. The themes explored weave in and out of grasp, touching on the otherworldly and mysterious, on hypnotic rites and ceremonies, on the fetishisation of cultural tropes and curios.

While carefully documented, these happenings had not been distilled or presented in a cohesive format until now. Of course, an attempt to harness and package such an experience required an imaginative leap beyond the traditional 'record-in-sleeve' approach and Lena and Sarah have overseen every aspect of this remarkable collection themselves.

Working with designer Till Sperrle, Lena and Sarah have conjured up a fold-out box containing an LP, a riso-printed credits poster detailing the samples and snippets collaged into the sound, a 36 page book with imagery from various shows and an essay by Thomas Vorreyer plus sticker pack. The limited 50 copy artist edition contains an additional 10 special riso-prints within an artist stamped hand-numbered box. For all, the LP contains twenty hidden locked grooves cut into the run-out on each side presenting snippets from the artists' archive.

The first of these pieces - 'Identikit Arkaden Seance' - took place on the 2nd of October 2019 at NAK Neuer Aachener Kunstverein and is a live recording. This performance was part of their exhibition "Chambers of Phantom Kino Ballett", where they showed new video works and displayed the now infamous costumes and slippers worn by Lena, Sarah and a rotating cast of guest phantoms.

At this performance, the seven performers carried boomboxes playing individual audio tracks inside and outside the Kunstverein, while Viktoria Wehrmeister and Detlef Weinrich improvised music alongside the phantoms' moving soundtracks of sonic snippets, poetry, field recordings and soundscapes.

The second piece - 'Studio Chamber Seance' - contains diverse audio tracks of performances that were held by Willikens and Szczesny in collaboration with Wehrmeister and Weinrich. It has been deconstructed and rearranged with additional sound material from the Lena Willikens & Sarah Szczesny archive, then edited and mixed by Lena and Sarah in Amsterdam and Cologne last year. Additional music by Detlef Weinrich and Viktoria Wehrmeister features throughout, recorded live in Aachen 2019 and Frankfurt 2020.

Mastered by Gordon Pohl. Transfer, additional mastering & lacquer cut by Helmut Erler at D&M.

Over the past few years, Luca Binatti released a steady stream of quality EPs that showcased a remarkable talent with a clear understanding of what makes dance music unique. Also known for his guise as D:fferent Place, where house music is the main topic, Luca's boldest experiments belong under the Pressure Point project.

Pressure Point's debut on Pluie/Noir is no different — a collection of four ultra-personal tracks drenched in honest emotion and playful psychedelia. And it sounds as human as it sounds outer-worldly. Inspired by music genres unrestricted by the club ecosystems, "Ghost on Tape" features compositions that span from deeply spacial house to low-swung finely-detailed minimal.

Cover artwork features a stunning painting by the exquisite London-based artist David Surman. "Mask of a King / Midas" is inspired by Agamemnon's mask found in ancient Mycenae and Picasso's last self-portraits, furthering the emotional impact of the release as a whole. Limited pressing.

Subtil is back with the "Rest & Peace" EP, marking a new and totally different approach for the imprint.

"Rest & Peace" results from their intentions to release something different from what they typically do and gather music to listen to outside of the club ecosystems. Embracing a more musical, experimental, and definitely peaceful character, this EP is will cater to the introspective moments or those cozy hours with your favorite ones.

Subtil had some leftover covers from previous releases from the past few years and thought it was an excellent opportunity to use them for the release. Combining the "rest" of their covers and music created with "peace" in mind, "Rest & Peace" is a unique and unusual collection of tracks and a bold musical statement from Subtil's key producers.

Kaluki Music head Pirate Copy makes a long-awaited debut on Hot Creations this November with the three-track You Need It. Collaborating with rising vocalist Hattie Snooks, the release includes two remixes courtesy of US legend Harry Romero and Spanish mainstay Miane.

The title track takes the form of a driving, 4x4 house cut, packed full of punchy percussion and resonant kick-hat pairings. Built for the dancefloor, Hattie Snooks’ enigmatic vocals whisper beneath a minimal-laced bassline, before Harry Romero’s remix arrives. The US stalwart serves up another no-nonsense offering, as a hard-edged bassline melds with flecks of acid throughout. Rounding off the release is Miane, whose tribal-leaning offering is sure to light up many a nightclub this year.

Manchester’s Pirate Copy is a leading artist in today’s electronic music sphere. His discography boasts releases on some of the scene’s most revered imprints, including Sola, Relief, Elrow and Moon Harbour to name a few, whilst his own label, Kaluki, has become a bastion for contemporary house since its inception fifteen years ago.

Harry Romero is a well-established figure on the worldwide music circuit, with recent productions landing on Crosstown Rebels, DIRTYBIRD and many more besides. Ibiza’s Miane is fast becoming a talked about talent in the industry, thanks to several appearances on major labels including Repopulate Mars, Toolroom and Moon Harbour.

The so much anticipated Volume 9 of the fortunate limited edition vinyl series FullTime Factory is finally here! Gems from the FullTime
Production vaults re-edited and remixed with a House, Nu-Disco and Disco Twist!

On Side A Jimmy Ross' Classic "S.O.S. Of Love" got brand new life
through Flowersons' nu-disco attitude and "Tell Me" from the eponymous Rainbow Team album dated back 1981, is re-edited by J.B. Boogie.

On the flipside, italo-disco funk gem "Gosh" by Galaxy band is rematered and repressed for the first time on vinyl, while the neapolitan funky jam "O' Guaglione" by Tony Cicco is re-crafted by the M.B. Edit's fine scalpel.

4 tunes to boogie!

160 gram clear red vinyl, glossy sleeve, Cititrax presents rare live recordings from Birmingham techno legend Regis. The 12" EP features recently uncovered recordings of Regis playing live in New York City on January 4th, 1997 at the famed New York Film Academy. Original tapes discovered by Evan Kreeger, studio work / transfers done by James Ruskin in London and audio mastered by Veronica Vasicka in New York. The EP will be pressed on 160 gram clear red vinyl and housed in a gloss sleeve, featuring text by Evan Kreeger. An excerpt is below: Gymnastics broke techno - first time performed ! Regis has recreated this show for you - from the tapes in storage Over twenty years later - You're welcome! You are born! Now you can say you were there - rather than Skavoovee chore Damage and flame was our desire for this fight Two fans rebuffed tossed cinderblocks thru the front doors that night Locking up the Film Academy was only pageantry and a lie Nothing secure anymore - just crouch down - on your knees - crawl inside"

So strong was EPMD’s epochal debut album ‘Strictly Business’ that it spawned three all-time classic singles, providing part of the soundtrack to, arguably, the height of the original Golden Age. When discussing the landmark artists of that era – Public Enemy, Boogie Down Productions, Eric B & Rakim – the duo of Erick Sermon and Parrish Smith are certainly in the conversation. And when it comes to all-time duos, they might be at the head of the table.

The original release of ‘I’m Housin’ came in 1989, and the only previous 7” release was confined to the UK – it now fetches sky-high prices. Hence this reissue couldn’t be more timely, showcasing just how fresh E Double E and PMD sound over even the most rudimentary but feverishly catchy of beats.

That was their genius – trading ‘slow flow’ punchlines over deceptively simple backings – and that’s exactly what you get here. The loop of Aretha Franklin’s indelible 1971 gem ‘Rock Steady’ does all the heavy lifting musically, the only adornment a brief vocal snippet taken from their own ‘It’s My thing’ – EPMD is a world premiere.

At a time when sampling was still in its infancy, and before producers started to pride themselves on obscurity, and on chopping up samples creatively, this was the approach of many a hip-hop song, and rap was none the poorer for it. When you have voices as distinctive and strong as EPMD, less is more.

There's always been a bit of a "no frills" feel to Developer's output. The Los Angeles producer specializes in the kind of functional, no-nonsense techno that comes into its own when played over booming club sound system and as a label owner has truly nurtured his Modularz imprint into one of The homes for contemporary American techno. This release is consistent with the labels on going output of warehouse bangers. Straight up tribal influenced, dark, hypnotic, rhythmic techno music for the wicked.

Viewtiful Joe (Casa Voyager, mindcolormusic, Fundamental) continues his run of sublime electro EPs with this joyful 5-tracker for Welt Discos. Futuristic in sound yet harking back to the heyday of breakdance in the early-to-mid 80s, these battle-ready boogie jams explode with wiggly slap bass, soaring pop melodies and the funk to make you jump. Lock in and freak out!

Whoop whoop, it’s the sound of the inimitable KRS One’s ‘Sound of da Police’ and the mind bogglingly clever ‘Hip Hop vs Rap’, reissued here for the first time ever on 7 inch vinyl, housed in an original artwork picture sleeve this is a must have for anyone in the know.

First up ‘Sound of da Police’. A song that spoke out against the long running history of the Black community experiencing police brutality, violence and racism at the hands of those that were meant to be protecting them. The hard-hitting words from KRS touch on the history of slavery and it’s manifestation into systemic racism throughout the ages since.

“Change your attitude, change your plan
There could never really be justice on stolen land”

Couple that with a rough breakbeat, chopped through the MPC alongside choice funk samples and that legendary police siren ‘Whoop, Whoop’ and you had a certified golden era rap classic that ignited the fire in the belly of many across the globe.

On the flip, ‘Hip Hop Vs Rap’. A bumping hip hop loop lays the foundation for KRS to work his genius melding all manner of classic hip hop lines that are the perfect ammunition to cut up on the decks and results in a flow that certifies that hip hop is the culture that you live and breathe.

“Rap is something you do,
Hip-Hop is something you live!”

It’s a true, headsy b-boy gem which deserves a place in every collection.

We welcome back our good friend Karotte with his first release on Break New Soil in over a decade! „XTC“ is pure Karotte dancefloor fire - weird, powerful and beautiful! On remix duties, we are psyched to have our good friend Jeroen Verhej aka Secret Cinema, who really needs no introduction to techno heads around the planet, and he delivered exactly what we've been hoping for: A relentless big-room Techno rework - boom! The second original track by Karotte is called „Drive“, and it's on the deeper side of things, yet not less intriguing at all. Welcome back home, Peter!

Illegal Alien are back with another split EP for our 12′ Vinyl Series ‘No Boundaries’ this time for the edition number four. For the A Side we welcome back Illegal Alien member the great Mari Mattham with two incredible cuts and for the B Side we got the powerful Michel Lauriola with also two massive tracks, great music for the peak time hours. This is just another fantastic record and we are really proud to present it to all of you.

This is the 26th release on RIOT Radio Records, a fiercely independent techno label based in Scotland.

Moscow based Trust True is a producer and DJ who’s quite literally off his rocker. Displaying agonizing and often deranged broken beats which seize the very beat of your heart, his music rushes, grinds and pulsates with so much ferocity, even your living breath will be succumb to its lethal effect.

Continuing with our ‘Limited As Fuck’ series of releases, this additional hard hitting ‘OUTBURST’ will further provocatively attack your gnarly senses in an additional unrealised beguilement stemming from this mental Russian’s 1st ever vinyl release on RIOT Radio Records, ‘Outburst – The Red Mixes’, in April 2021.

Four tracks from that menacing beast have been given the full-on remix treatment and oh boy, what a bunch of hard as nails remixers are on this obliterating follow up release. The Scottish contingent kicks proceedings off with Duellist at the helm followed by Argentinian duo 909distortion & AxggaA literally melting the wax it’s printed on their remix is that fierce. It continues at a relentless pace with Canada’s Patrick DSP mangling the howls of ‘AAIRAA’ to ravenous levels and the mechanical mind of Italian Max Durante finishes the release off with borderline hardcore vengeance.

WARNING: FROM AFAR THE DEMENTED BRINGS FORTH IT’S DERANGED LUNACY ONCE MORE

One of Detroit’s finest exports is legendary house and techno pioneer, Gari Romalis, and as we enter what could potentially be a summer of love he creates an outstanding four track EP, “Black Traxx Matter”, spreading a message which scratches way below the surface, using music as a tool to share. The body of work spans across distinctive and slinky deep house energy, oozing class and emotion, notably what we have all come to love and adore in Romalis’ back catalogue. Music from the soul, for the soul, coming soon on Italian label, Nicepeople.

Opener “Black 2 Da Future” rides an effortlessly cool groove, brushing by in the summer breeze, paying homage to brighter days. Next up is “Black Diamondz (Africa Mix) consisting of a tight and punchy drum arrangement, and warm and infectious sub bass. Welcoming you with open arms.

“Black Luv” is lighter on its feet than the previous tracks, a definite housey spring in its step, all of the elements conversing in sweet harmony. A cruise down nostalgia lane. “Purpose Reprise (Motivate Mix)” closes this wonderful EP, six and a half minutes of pure bliss which shifts into a pure and powerful moment when a spoken word sample enters the room, as the soft keys work their way around the message.

A masterpiece body of work from one of the most esteemed artists in the game. The Nicepeople label keep continuing to propel high quality sounds from new and established artists, with a healthy schedule already pencilled in for 2021.

Since he started producing music, Berlin-based American sound artist Jake Muir has been obsessed with sampling. His 2018 album "Lady's Mantle" was based on manipulated chunks of vintage Californian surf rock, and its follow-up, 2020's midnight symphony "The Hum Of Your Veiled Voice" was sourced from a wide variety of old records, and inspired by the work of experimental turntablists like Marina Rosenfeld, Janek Schaefer and Philip Jeck.

On "Mana", Muir looks back to a misunderstood musical movement. Around 1995, a group of New York producers and DJs - including DJ Olive, DJ Spooky and Spectre - pioneered a genre-dissolving sound by unifying hip-hop techniques with ideas pulled from dub, jungle, ambient music and industrial noise. Badged "illbient", it was a short-lived genre that felt like a high-minded psychedelic cousin of the UK's trip-hop.

Muir uses illbient as the springboard for "Mana", utilizing a selection of samples to inform his frothy drones and foreboding atmospheres. He ushers the material into 2021 by diverting it through his own contemporary worldview, attempting to recreate the hyperreal fantasy histories of Japanese RPGs (think "Dark Souls" and "Final Fantasy") and nod to sensual, tactile soundscapes of European industrial labels Staalplaat and Soleilmoon. The result is a magickal, sensory journey that's as physical as it is representational.

If the illbient producers were encouraging a burgeoning experimental music landscape to emphasize the tactile feeling of turntablism and sample manipulation, Muir is doing the same with "Mana". Each track heaves and breathes not just with his cultural reference points, but with layered, complicated emotions. We can hear joy, sadness, desire and anguish, obscured by disintegrating noise, hallucinogenic harmonies and sub-aquatic bass. It's electronic music that's rooted not in technology, but in touch.