Search:catalogue

Two all-time George Duke greats, 'I Want You for Myself' & 'Brazilian Love Affair', get the official remastered, reissue treatment.

First up, 'I Want You For Myself' Duke's 1979 jazz funk, R&B tinged gem has got all the ingredients of classic from his illustrious catalogue. A funked up guitar and exuberant percussion, compliment Lynn Davis' fabulously soulful vocals perfectly to make this a love song that's sweeter than most. A Duke classic wouldn't be complete without a killer, keys solo and 'I Want You For Myself' shows off his talents in abundance. The infamous Tom Moulton takes on edit duties splicing it into a 10-minute exploration of this fusion powerhouse, extending and enhancing elements in the mix, alongside adding an epic breakdown in a way that only he knows how.

On the B side, the stone-cold killer 'Brazilian Love Affair' is a Latin American, jazz funk classic. Recorded in Rio de Janeiro, Duke drafted in a host of greats to guest on the track, each bringing something unique to the table. From Airto Moreira's expert latin drumming, to Byron Miller's heavyweight bass and Roland Bautista's overdriven guitar. Duke supplements this to a tee with his blissful vocals and an otherworldly Rhodes solo. Much sampled, much loved, this is a masterpiece that needs a place in the collection.

Maschinenbau Was A Label Run By Djscud From Ambush And Nomex From Adverse Which Released Only Two 7's In 1997/98. The First, Eurostar/piling Machine, Was Limited To Just 300 Copies. It Combined Psychogeographical Exploration And Field Recordings With Amiga-produced Non-conformist Breakcore And Noise-abuse, While The Second One, Total Destruction, Became A Classic Of Breakcore / Noise Crossover With Several Appearances On Compilations Such As Collision Drive On Pias (compiled By Kevin Martin, Aka The Bug), But Nevertheless Fell Into Relative Obscurity - Like Most Of The Great Early Breakcore - During The Following Decade. Listening Back One Can Only Be Astounded By The Raw Energy And Urgency Of These Tracks.
Twenty Years After The Original 7's, Praxis Is Proudly Releasing A 12' With All Four Original Tracks In October 2018 With The Catalogue Number Praxis 56.

The Strictly Rhythm imprint is legendary and is instantly recognisable by connoisseurs worldwide. It's a label that has contributed time and time again to dance music culture across it's almost 30 year lifespan. Countless classics passed through the NYC offices of Mark Finkelstein and Gladys Pizarro and this brand new 'Strictly Classics' series looks to celebrate this cornerstone dance label and it's immense catalogue by going back to the archives and presenting some double-header action for diehard fans and newcomers alike. That's right, the 'proper' mixes, reissued from source and remastered to the highest spec, each track spread across one side of a 12" for optimal sonic playback.

Number 3 in the series kicks off on a proper old-school tip with CLS' mammoth 'Can You Feel It' from 1991, a collaboration between Todd Terry and Benji Candelerio CLS made a huge and lasting impression with this euphoric and anthemic slab of dancefloor madness. Instantly recognisable from it's ravey riff and funky drum programming, file this one under 'rave classic'! Over on the flip side we have South Street Player's smoothed out '(Who) Keeps Changing Your Mind', a rolling and deep jam from Roland Clark and George Morel that came out in 1993. This one's some lights down, honest to god soulful house music, skipping garage drums and that organ driven groove offer the perfect vehicle for Clark's gorgeous vox to soar over. Yet another set of absolutely essential SR cuts from the archive!

Remastered with love by Optimum mastering, Bristol from original master sources. Made in conjunction with Strictly Rhythm 2018.

Celebrating its 50th birthday this year, Westbound Records is the Detroit institution that discovered Funkadelic and the Ohio Players, with a rich catalogue that is probably amongst the most sampled in the world.

Our 'Super Breaks' series makes a welcome return, throwing the spotlight on the records which have been sampled on both Westbound and its Eastbound subsidiary. These come not only from the more obvious names such as the Detroit Emeralds, Denise LaSalle, Junie Morrison, Funkadelic and Ohio Players, but also the lesser-known Pleasure Web and the Magictones.

The list of artists who have sampled these records reads like a Who's Who of the hip-hop and dance worlds. These tracks will be recognised from well-known records by Kanye West, Dr Dre, Snoop Dogg, A Tribe Called Quest, De La Soul, Fatboy Slim, and many more.

Both the double vinyl and the CD come with extensive sleeve notes and a breakdown of where each track has been sampled.

Through the years Intacto Records became a household name. The label was founded in Amsterdam in 2004 under the collaborative genius of Shinedoe and 2000 and One.It was nlaunched as a platform for the by then strongly emerging Amsterdam scene supporting a pack of local artists shaping a fresh distinctive sound which took over the electronic scene by storm. Intacto's defining sound included many styles and its catalogue is a melting pot of influences of which house and techno are the key elements. After running Intacto Records successfully for 14 years, Shinedoe and 2000 and One have joined forces on their very first collaborative release. A ten year old unreleased 2000 and One track 'World of Acid' have been played out by Shinedoe for years and received ecstatic feedback from the clubbing crowds. Convincing him to release this timeless tune to scorch the dancefloors worldwide, Shinedoe was inspired to do a remix. In return 2000 and One remixed her track 'Acidploitation' which she recently produced. 'Acidploitation' EP is the culmination of two Dutch legends, defining their brilliant take on music once again.

4x12" Set , Special 15th Anniversary Edition, with Special Deluxe 4 Gatefold, shrink wrapped incl Download Card

Celebrating its 15th anniversary as well as the monolithic catalogue 100, Figure releases a gem-packed compilation featuring 15 artists who are shaping the current sound of the label. Ranging from machine-driven stompers courtesy of Juxta Position, Kirilik or Lady Starlight, to punchy electro by Viers and UBX127, to Nocow's signature style wavey melancho-electronics, or the straight-up high-voltage-techno of Shlomi Aber, Lewis Fautzi and captain Len Faki himself, all adequately framed by Setaoc Mass' beautiful ambient pieces - this 4 LP-set encompasses everything Figure both past, present and future. Arriving in a unique gatefolded sleeve that carries the exclusive handmade visual art by Munich artist Julia Schewalie. Whether long time fan or newly recruited follower, this one is a must-have entry in every techno-lover's collection.

Composer, filmmaker and photographer Phill Niblock is a true pillar of the New York avant-garde. In the past 50 years, he has curated over 1,000 performances at his Centre Street loft and steadfastly built a massive, multidisciplinary body of work. While his earliest musical compositions date back to 1968, Niblock waited until the early '80s to release any recordings. Nothin To Look At Just A Record, a powerful debut with densely layered trombones, would be the first to unfurl his unique approach to sound.

The second album and perhaps the most rare in Niblock's vast catalogue, 1984's Niblock For Celli / Celli Plays Niblock is a meeting of two great minds. Working with reed player Joseph Celli (a composer in his own right, who has collaborated with John Cage, Pauline Oliveros and Ornette Coleman), Niblock nimbly removes the breathing pauses from Celli's oboe and English horn to create seamless, enchanting drones.

Niblock insists that his music be played loud: only in this way can one experience the visceral ringing of these long instrumental tones through the speakers and their natural overtones generated by the room. Niblock For Celli remains deeply absorbing.

This first-time reissue is recommended for fans of Alvin Lucier, Yoshi Wada and Dome.

Label boss Cali Lanauze is joined once again by Jonny Cruz to deliver the fifth release of Opulence's catalogue.

The duo perfectly demonstrates through the 'Flyg EP' the versatility and sounds that Opulence brings to the table: Deep, Trippy, Dark, Groovy & more.

Taking on remix duties of Cali Lanauze & Jonny Cruz's originals, Germany's legendary Roman Flügel delivers a dark warehouse electronica roller remix of 'Flyg', whilst Disco Halal head honcho Moscoman delivers a deep summer instrumental interpretation of 'May The Wind Always Be At Your Back'.

For the 5th in the Ele Records catalogue esteemed producer Cottam brings two killer edits to the table. The A side sees a joyous disco rework, extending and expanding elements to really hone in on that exuberant bassline and string section.
Flip it over and 'Jigsaw' delivers a dusty mixture of afro rhythms and stirring spoken words to entrance any audience it's set before.

GIULIO ALDINUCCI is an Italian sound artist working in the fields of experimental electroacoustic music, field recording and ambient soundscape. Born 1981 in Siena, his catalogue comprises four solo albums on labels like DRONARIVM (CHIHEI HATAKEYAMA, AIDAN BAKER),TIME RELEASED SOUND or HOME NORMAL plus EPs and collaborative albums (a.o. with PLEQ). Furthermore , he wrote music for theatre, video art, documentaries and short movies and was awarded with an honourable mention at the 18th International Electroacoustic Composition Competition Música Viva 2017 for his composition "Mute Sirens". Together with ATTILIO NOVELLINO, ALDINUCCI launched the project "Postcards From Italy" which consists of an album published by OAK EDITIONS, live events (the first one took place at Cafe OTO, London) and an installation by AIPS collective & GIANMARCO DEL RE.
"Borders And Ruins", his first album for KARLRECORDS, is a reflection on the instability of borders - borders as an extreme attempt to discriminate and rationalize that turns into a source of chaos and cultural ruins on both sides - and their impact on the relationship between people and territory. It is also a sonic diary: a constantly mutating soundscape where electronic sounds and field recordings (taken during several travels around the continent) blend into an ambient masterpiece of sublime beauty and sacral majesty.

Mastered by Alexandr Vatagin
Vinyl cut by Rashad Becker at D&M, Berlin
Artwork by Joe Gilmore

or 22 years now Zhark Recordings Berlin has been operating relentlessly on an alternative technoid vision. The keystone of this vision is an approach of full artistic autonomy in full front against the demons of the momentariness, reproduction and stagnation, which were ever present in these past 20 years. This endeavor intensified over the years leading to numerous releases on all types of medium. With the vinyl catalogue number 30 the big K is setting out ONE more TIME to settle the score presenting yet another wrenching collection of DANCE Variations.

The Haunting chains of a demoralized sorcerer in HINRICH, the shattering congas of a sinister entity in RATTLE DISCO, the euphoric bawling of a merciless god in LET ME FLY AWAY FROM YOU, the alternating motives of growing tension, clarity and unavoidable obscuration in the UNDERNEATH the 4th Alignment. All these motives are entangled in layers of a fierce percussive bombardment.

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

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

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

Artilect's varied musical background is one of the primary reasons why his production is so coveted throughout the back catalogue of the labels he's released on. Beginning his career in Manchester during the mid 90s, his love of breakbeats lead him into the world of hardcore and jungle, where his appreciation of electronic music grew year by year, whether that was the sounds of Detroit or Acid Techno. Having supported artists like the legendary Marcus Intalex at Guidance, his part in the Northern collective Audiosalad helped promote his finely honed craft to a more widespread audience. And now he joins the roster of Horizons Music, an imprint who strives to only deliver the most cutting-edge records from the underground; it seemed like the perfect home for an artist who has only offered the same standard with every track he's released. And the 'Black Fire' EP is no different, with its full spectrum look at the influences which have enabled Artilect to reach this monumental stage in his career.* Title-track 'Black Fire' is chaotic with its swathes of crashing percussion; its impact gains more and more momentum as it gradually builds and crashes along its finely-chiselled bassline. 'Hoax' has the same old-school feel, paying homage to the producer's roots whilst he flexes his ability to create hard-lined breaks which crash against the record's firing drum sequences. 'Deep Signals' is moodier in its approach, with each weighty bass pad lowering the tone as it draws you in gradually. Whilst 'Deep Signals' still nods its head to the type of music which made drum & bass so infamous during its explosion, it alludes to its more contemporary world, with Artilect enabling you to become fully immersed within it. Finally, 'Tryptamine' once again offers a darker edge although this time is goes to even filthier depths, taking you along for the journey through shaking subs and cranking atmospherics. It has a creeping blow, proving that Artilect reigns supreme over his soundscape; another reason why Horizons brought him on board to deliver such a mind-bending release, alongside his eloquent production standard and refusal to bow against commercial pressure. 

Next up on Dusky's renowned 17 Steps label is the return of long term pal Kiwi. Having supported the lads on 9 of the 17 Steps tour dates and having also provided the 15th release in the label catalogue - the fellow Londoner now readies his 'Oooh' EP which comes backed up with a remix from Feel My Bicep affiliate Hammer.

Kiwi's sound is one defined by positive, kinetic feeling - joining the dots between Detroit Techno, Soul and Balearic. With previous releases on Futureboogie, Life and Death and Moscoman's lauded Disco Halal imprint, he's garnered several accolades including reaching number #85 in Mixmag's Top 100 tunes of 2017 and sitting at #1 in the genre chart for a total of 9 weeks with his 'Orca' EP back in 2016.

Now - continuing on his ascent, Kiwi lays out a pair of rapturous, gooey House jams that lands right on time for the festival season. On 'Oooh' - Vocal lines swirl over a largely beatless backing track. A rich, balmy feeling unfolds behind synth chimes and layered delays which work together to form an irresistible summer DJ tool. 'Andromeda' then follows up and blends 80's soundtrack-tinged stabs with crispy drums and thick sub bass before being accompanied by a pulsating synth line that carries the track to a delectable crescendo. Hammer then closes things up with a somewhat hallucinogenic take on 'Oooh' with LFOs, analogue sweeps and blobs of acid bleeding together to cap off an altogether warm and woozy trip.

'Time flies' as the saying goes and indeed it has as Quintessentials celebrates its 10 year anniversary. For a decade this mighty label has been getting some true love and support from all quarters. Listening to the back catalogue now, most of the tunes still sound fresh and keep the label's famous "deep, raw and real" motto alive.

Quintessentials has always been a platform for new talents as well as established artists, and with he likes of Anton Zap, Vakula, Baaz, The Zohar, MCDE, Nicolas, Ugly Drums, Toby Tobias, Borrowed Identity, Mat Chiavaroli, 4004, Soul of Hex, S3A, Los Goddard, Felipe Gordon, Javonntte......to name but a few, it's an enviable back catalogue.
This "Ten Years Quintessentials" compilation offers a wide range of styles: Detroit inspired Techno and House, a ruff Chicago stomper, some proper deep House, a discoish tool, and crafty beats and basslines all over! We hope you enjoy this compilation as much as we do. We are ready for the next decade! Are you

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Land Of Hits was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Mistafide's colossal old-school rap behemoth 'Equidity Funk' has long been a record that makes the serious collectors salivate and is now here in full 12" form repress, too legit to quit.

Not much is known about the crew behind 'Mistafide', their government names are listed online but this is the only record they put out using this name. Suffice to say, this has no impact on the fury and style with which the MC's deliver their raps, backed with the studio nous of impresario Peter Brown. Across 12 minutes 'Equdity Funk' is a slamming Disco-rap monster, interpolating elements of the evergreen B-boy jam 'Theme From SWAT' it sounds like everyone just got into the studio and went for it. In the style of the times this is the real hip-hop flavour, a live band, some MC's and some death defying bars being dropped, proper old school. A truly rare recording, 'Equidity Funk' has been one of those records fans of the Disco-rap era have been fiending for for decades - often commanding prices over the $1000 mark you can now grab this slice of essential NYC street Funk.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, remastered with love by Optimum Mastering, Bristol UK.

Luciano has arranged a special series of four releases as part of the celebrations for the fifteen years anniversary of his own Cadenza Records, launching the first one to begin the festivities. Each episode is coming out in a different season of the year; the first one, with the catalogue number 118, is the chapter dedicated to the summertime and contains 5 enchanting tracks with an exquisite sound. Thisseries is just one of the astonishing surprises that Luciano has set aside for the birthday of his beloved label.
The show begins with "The Amazing Lilou", a crispy ariose tune with elaborated percussions and calypso-flavored synthesizers. "Hiding Hearts" is a latin prelude with pleasant guitars and restful melodies, flowing with joy and peace. "Nabusima" is another Caraibic spell, with noteworthy carefullymixed drums and elevating harmonies. "Magik Mechanics" explores complex broken beats andelectronic textures, drawing a colored narration in between a fairy tale and a sci-fi movie. Finally,"Tirana del Oriente", as disclosed by the title, is a trip into the Oriental ardent magic. A collection offive long summery compositions to accompany our hot pleasing days from the dawn till the dusk,holding our hands during a never ending daydream.

Echocord's Echo Echo sub-label continues with its third releases this August, courtesy of German producer and Credo founder Alex Bau with his 'Zenstory' EP. Germany's Alex Bau has been a prominent name on the underground DJ circuit on his home turf, and further afield, for three decaces as well as racking up an impressive back catalogue as a recording artists for labels like Cocoon, CLR, Sleaze and of course his very own Credo label which has been a platform predominantly for his own material whilst welcoming the likes of Kyle Geiger, Takkyu Ishino and Electric Rescue onto the imprint also. Here though we see Bau joining the roster of Echocord's fledgling sub-label Echo Echo with a new four-track EP and taking the lead on the package is 'Clouds' with pulsating low-end tones, hissing analogue noise and dusty drums samples all flowing in unison with ethereal chords and sweeping pads. 'Contour' follows, tipping the focus over to bubbling delayed stab hits, fluttering sub bass and evolving white noise bursts throughout. The 'Prelude' of 'Zenstory' opens the flip side and as the name would suggest it's a cinematic build up to the title-track featuring tension-building, expansive atmospherics ahead of the original mix which features a thumping muted kick, stuttering atmospheric echoes and spoken word vocal tucked into the depths of the record.

Reissue of thisearly 90s Czechoslovakian balearic style oddity. TIP!
.
Jindrich Parma originally created this record as a studio project on his own 'Parma Productions' label in '91. The release was the debut of the musician 'Karya', and although the singer has become fairly prolific, 'Muž Ze Skla' (The Man Of Glass) remains an anomalous release in her catalogue. In fact, the song never actually featured the singer we know as 'Karya' today, and was solely the experiment of Jindrich and Company. With a balearic house sound that never really had a parallel in the country, this remains a truly unique Czechoslovakian record. Reissued for the first time on a 12".

David Mayer's career and background is marked by a desire to keep moving and experiencing new perspectives. Having finally settled in Berlin, the German DJ and producer has built up an enviously diverse back catalogue on labels such as Connected Frontline, Objektivity, Gruuv, Audiomatique and Keinemusik. With his first release on Acid Pauli and Nico Stojan's Ouie label, Mayer brings his trademark groove to the fore once more.

'The Call' is a mid tempo chugger built around a kick, clap and 808 blip, before a more organic groove develops. The slowed down chants and wigged out synth line take the vibe into afro cosmic territory, without losing the original energy.

'Sooner' is a little more urgent - a crisp, forward leaning rhythm and a deep, subby bass lead the way, before another frazzled synthesiser takes us on a melodic walkabout.