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After a string of releases on Drumcode Records, Pets Recordings and Hypercolour, Tom Demac has joined forces with Will Samson in a somewhat unlikely pairing for their debut release via AUS. Following on from AUS's celebratory 50th release from Deetron, a surprise re-release of Sei A and another solid EP from Dusky, this release takes the label along a more expansive and less dance floor orientated route. In 2012 Tom Demac established himself as one of the UK's most exciting producers after widespread acclaim for 'Critical Distance Part 2'. He followed up this success in New Release Information 2013 with collaborations and remixes with Glimpse such as 'L-Plates'. On the other hand Will had been touring indie venues with Kurt Vile, Marissa Nadler, Shearwater, Ólafur Arnalds off the back of his newly released LP, 'Balance' - an album of hazy, ambient & intimate tape recordings At the end of 2012 Tom stumbled across Will's album, although on opposite sides of the musical spectrum, the two shared a similar ethos towards their work - passionately creating, but never taking themselves too seriously. Having both experienced the recent and sudden loss of close family members just a few short months apart from each other, it was clear that there were both in need of a cathartic outlet. 'It Grows Again' and 'Chasing Shadows' reflects these experiences with a striking blend of wistful vocals and ambient guitar swells from Will Samson and Tom's distinctive grumbling and weighty bass lines. The final track on the EP is Tom's formula remix which seeks a more 4 to the floor approach, led by punchy beats and groove rather than intricate vocals. Tom Demac will be complementing the build up to the release by playing gigs and live shows across the Netherlands, Germany, Ibiza and the UK.

Like the face-painted Celtic hordes that succesfully repelled all invaders, Seaghdha continues to dominate the high ground
and provide sonic sustenance for rave caves the world over

As the series continues to pick up new fans and plaudits aplenty, the modus operandi remains the same - precision club workouts, which ricochet between UK flavoured jams, to clean cut Techno & stripped down House

Dirt Chambre, a loose translation into English from a Gaelic phrase which would make even the most hardened warrior chief blush is a robust, clank-a-thon of the highest order, submerged vocals, dustbin lid metronomics and a rudimentary lawn mower preside over what unfurls into an irresistible dancefloor piece

Full Swing takes us into skeletal Mood II Swing territory - a nifty rhythm track number punctuated with vocal chops and atmospheric ear candy

On the flip, Corner Jams sees a Kevin Saunderson 'E-Dancer' style snaking bass underpin a rusty tracked ghost train ride into the depths of the dankest dungeon

Finally Someday gives us a taste of what Kenny Dope might be kicking out if he hailed from South Yorkshire instead of Brookyln.
An impossible to resist skin slapping groove with twisted brass refrains and an unrelenting march into the holo-deck for a spot of android Salsa

finally repressed!
Brand new NOISIA single, you know its HOT!! Including the massive Excision & Datsik remix.

There are many ways to move forward as an artist. You can reinvent yourself, keep track of fashions, or try bold new things. Tom Trago has spent the best part of 10 years pushing his sound in impressive new directions. Yet on his new album, the well-regarded Amsterdam-based producer has done things slightly differently. This time round, his influences come from much closer to home, and he has admitted to being inspired by the dancefloor-focused style with which he made his name.

Welcome to The Light Fantastic. We're sure you'll enjoy the trip.

Trago is an old hand at this kind of thing. Back in 2009, his debut album, Voyage Direct, impressed with its warm, disco-centric blends of full-throttle deep house and boogie-influenced synthesizer funk. He cast his net wider on 2011's Iris, choosing to work with a wide variety of international collaborators on an album that laid bare his myriad of musical influences.

On the Light Fantastic, he's decided to 'step back to move forwards' with a warm, involving set that puts the simple pleasures of the best dancefloor moments at its heart.

'I tried to go a bit back towards the style I was doing on Voyage Direct, so dancefloor beats with deeper impact,' Trago admits. 'I was trying to male tracks that work on the dancefloor, but also move your heart.'

In some ways, The Light Fantastic is Trago in 'back to basics' mode. Partly inspired by his ever-increasing travels around the world to DJ, it melds together a range of influences - deep house, vintage synthesizers, classic boogie, disco, Chicago jack, acid house, and even a dash of full-throttle rave revivalism on the raw funk of 'The Elite' - on a set that sounds like it was painted in vivid colours by an artist at the top of his game.

'I'm like a professor in a lab, trying to make little ideas work,' Trago enthuses, warming to the theme. 'The tracks are all there in my head, like a puzzle, and I have to make all the pieces fit together.'

The 'back to basics' theme extended to his choice of collaborators. Whereas Iris was notable for featuring an impressive cast list of international singers, musicians and producers, The Light Fantastic is more of a homegrown affair. While plenty of people lent a hand during the recording process, they were trusted locals from the Dutch electronic music scene, rather than outsiders.

'This time, I thought 'whoever walks in the studio can get involved',' he says. 'If they walked in, they could sing, play some synths or do some mixing. A lot of people came to hang out and ended up lending a hand. It's a much more fun way of working than sending your track to somebody across the other side of the World.'

There are many collaborations on The Light Fantastic, but listen out for contributions from Steffi, Ben Westbeech, 'studio neighbour' San Proper, Makam, vocalist Holly Wood and, most surprisingly, a local club owner who just happened to swing by the studio. 'Using my friends was a big part of the process,' Trago admits. 'One of the points of the album was using people who were close to home, part of the family almost.'

It's an approach that definitely paid dividends. Certainly, this celebration of Amsterdam's blossoming electronic music scene adds a little extra frisson of excitement to The Light Fantastic's impressive vibrancy.

By the time the rush-inducing positivity of 'The Wrong Right' gives way to the mutant alien funk of album closer 'Desire', you'll be ready to listen to it all over again. That's the thing with The Light Fantastic - it's a trip you'll want to take again and again.

Long serving Cadenza recording artist, Mirko Loko, has always worn his Detroit musical influences on his sleeve, counting pioneer Carl Craig as his mentor, and having worked with the likes of Derrick May and Stacey Pullen in the studio.

And on Daybreak, Mirko fully indulges in the one genre that seems never to get tarnished, the mechanical and industrial beats working off the deep and soulful strings and melancholic pads, a true hallmark of the classic sounds of the Motor City. Originally released on Outpost Recordings, the label run by Scottish techno don, Funk D'Void, the masterful Original Mix from Takuya Yamashita gets three new versions from Mirko. Takuya, a techno artist from Kobe, Japan has already sparkled on labels like Biotech and Espai, and in his Original version we have a driving and energetic piece of classic techno. Mirko remains ever faithful to the melody and sounds of the original, providing a full beats re-rub on the 'Mn version', and an alternate 'Taiy version' that's more urgent, with its broken beat. The digital only 'Kanj no' version dispenses of a backbeat entirely, creating a remix that forever teases with it's percussive elements, building up great anticipation throughout. As Cadenza continues to celebrate its 10th year as a label, it takes delight in backing great music from its artists and associates, and this release is another curveball in the label's eclectic catalogue.

God is an Astronaut's seventh full-length album, Origins, is their first as a five-piece and cements their place as one of the world's most intense, musically- and visually-inventive post rock bands. Renowned for their searing live shows in which the music is married with provocative projected imagery, GIAA consider each of their albums to be a sonic 'photograph or snapshot of who we are in that moment of time' and Origins is perhaps their most saturated, striking snapshot to date.

*Origins is notable also in GIAA's return to Rocket Girl records, who licensed the band's breakthrough album, All is Violent, All is Bright in 2005. In the eight years since then, GIAA have continued to release albums and an EP on their own Revive Records (A Moment of Stillness EP, 2006, Far From Refuge, 2007, God is an Astronaut, 2008 and Age of the Fifth Sun, 2010), amassing a vast following on social media sites (150,000 fans on Facebook, half a million listeners on ) and touring extensively, establishing themselves as Ireland's most intense, incandescent live act.

*Comprising a dozen tracks, Origins fluctuates from controlled ferment ('Calistoga') to plaintive, piano-led reverie ('Autumn Song') to rhapsodic, unapologetically melodic fever ('Signal Rays') while never losing its focus.
Experimenting with 'a multitude of stompboxes', the newly bolstered line-up gives the songs an added richness, apparent on Origins perhaps most obviously on the first single, 'Spiral Code' which has already received numerous radio plays on specialist radio.

The funk king of Sweden is back! After having major success in the 1990s, selling hundreds of thousands of records all over the world and touring with the likes of Tina Turner, Paulo Mendonca returns with 'Does Anybody Wanna Funk'



In the early 1990s Mendonca released three chart-topping albums. Now, his first full length release for eighteen years is easily identifiable by his signature guitar sound and funky grooves, the intense playing and strong melodies topped off with tongue-in-cheek lyrics.



The vinyl version of the album includes two exclusive tracks that are not on the CD version plus a download code for a high resolution 24 bit/96 KHz digital download.
Tracks: BBB / Me and My Friends / Yeah Yeah Yeah / Birds and the Bees / Heaven / Diving In (exclusive to the vinyl version) / 21 Century / On Top / Music is the Power / Honey / Doggystyle / Someone's Lover (exclusive to vinyl version)

Mr. Stefanik concludes his 'days of old' ep series on KANN with this third and final part. As highly valued friend and artist from the labels neighborhood he locks his diverse journey to its own past with another awesome track collection. As part 'one' and 'two' already certified, KANN15 teases out Daniel Stefaniks many-faced shining talents in techno and housemusic.

The main man returns with three typically raw and jacking cuts referencing some of the older FXHE material, and replete with the usual mad artwork skillz! A return to form for AOS, and certainly not one you want to be missing.

Special Remarks: 12'' EP in 3mm spine sleeve with download card included.



1978 This EP is an extract from the Cosmic Machine LP compilation to be released on October, the 14th. The first track, Spirit, an Uncle O remix, originally released on Frederic Mercier's "Pacific" in 1978, synthesized on its own the whole concept of Cosmic Machine. Track 2, "Motel show" is a Pierre Bachelet remix (from the original soundtrack of "le dernier amant", also released in 1978). This mix is a dancefloor version by DJ Prins Thomas,famous space disco Prince from Norway (Lindström, Todd Terje...). The Cosmic Machine LP gathers stars (such as Cerrone, Juvet, Jarre, Marouani, Bachelet and even Gainsbourg with a rare proto techno track), talented pionneers (De Roubaix, Estardy, Massiera, Fèvre or Perrey) and even shooting stars (such as Rocket Men, Quartz, Chris Craft, Video Liszt, Milways...). Cosmic Machine combines all the major and inspired individualities that gave birth to the early 70's electro galaxy.

We call them the rat pack of our beat scene. With all diversity in sound, the three producers are unified in their love for dope beats and high-proof drinks, both catered and consumed with style and expertise.

Suff Daddy, the globetrotting gin connoisseur and minimoog player with domiciles in Berlin, Düsseldorf and Sydney. He has released three solo albums and has worked with artists like Miles Bonny, Fleur Earth, Ta-ku and Elzhi. After a one year stint in Sydney, he returned to Berlin this spring.

Brenk Sinatra, the Wien-Kaisermühlen homeboy, Westcoast rap fanatic and producer of the forthcoming MC Eiht album. Last year Brenk released the critically acclaimed S3 album together with US singer Miles Bonny and has laced beats for an armada of MCs from both sides of the Atlantic.

And last but not least Dexter, the Stuttgart based trip maker and platinum producer with a day job as a pediatrician. This June Dexter released his second solo-album 'The Trip' a homage to the psychedelic rock era and one of the most innovative and genre bending hip-hop albums of 2013.

All three first met at the Hi-Hat Club, the producer series that we started a couple of years ago with the goal to push and celebrate the art of beat making. With their respective volumes 'Suff Draft' (Suff Daddy), 'The Jazz Files' (Dexter) and 'Chop Shop' (Brenk Sinatra) each of the guys put the instrumental hip-hop thing on a new and different level. None of their beats need a MC to be complete, they are full songs in their own right.

The official birth date of the Betty Ford Boys was the 2012 Beat BBQ in Cologne where Dexter, Suff and Brenk performed together for the first time. Right after the now legendary gig, that was ended by police forces Suff Daddy left for Sydney so that most the recordings for the Betty Ford Boys debut album took place in the cloud. Right after his return to Berlin, the Boys jumped on the bus and played their first club tour which finished with a gig at the Splash Festival.

On August 30th, the Betty Ford Boys release their first album 'Leaders Of The Brew School' on Melting Pot Music. The record combines the best of three worlds and has a surprisingly chilled Westcoast vibe. It's perfect summer music, it's edgy and relaxed at the same time and keeps you thirsty for more ....

Steve Lee's (The Project Club) ABOVE MACHINE label returns after 003's massive 'Love Disguise' from Vendetta Suite

This fourth release comes courtesy of acclaimed Italian duo Almunia
Their celebrated output through Paul 'Mudd' Murphy's Claremont56 label, including the recent superb Pulsar LP has seen the their blissful & uplifting Balearic sound
expand and evolve beautifully.



One Time is a gorgeous slice of the same, and conjurs up gentle sea breezes and long summer days perfectly


The ever essential Craig Bratley, whose All Ears distributed Magic Feet label has provided some of our best output, alongside recent hit 'Obsession' on Weatherall's Bird Scarer imprint takes charge on the flipside here.
Craig takes the melodic motif's and vocal parts and weaves a trademark synthed out & acidic chugger of epic proportions. Sure to be belting out across the Adriatic this summer
Andrew Clarke - whose been making an impact with a selection of cuts on labels like Audio Parallax & Chopshop - wraps it all up with a truly amazing rework, managing to retain all the stunning musicality of the original, but elevating the elements to euphoric new heights.

*This is the second solo album from Ken Camden who lives and works in Chicago. He also plays in the Implodes sound quartet. *Space travel is the dream of many and the reality of few. Since Yuri Gagarin rst shed the bonds of earth gravity in 1961, only about 500 humans have made the trip beyond the atmosphere. *Ken Camden travels to space while still grounded on terra rma. His vessel of choice is a guitar and some effects with which he journeys on fantastical expeditions and surveys the biggest territory of all, the one between your ears. *The glimmering sound elds he forms could be a soundtrack to an epic 60's science-ction lm, or a long forgotten grade school educational lm strip explaining how humans would be living on Mars early in the 21st century. *Camden's narrative rejects the dominant dystopian view of the future and posits that there are great voyages yet to be made in inner and outer space. *The album forms a gravity-free environment in which the listener is suspended, enhancing an aural excursion to the outer reaches of the musical Kosmos. *Press quotes for Lethargy & Repercussions: 'Transcendence achieved.' Tiny Mix Tapes 'It's an album that, although it's only been recorded once, feels forever embedded in the present tense when you listen to it.' Attn Magazine 'Ken Camden fuses the mystery of Eastern scales with Krautrock and Karl Stockhausen inspired themes, yet his sound remains futuristic.' Bearded 'Awesome record of shimmering, electronically modied solo guitar music. The pulsing, gated rhythms do have a certain (k) / (c) luster that reminds me of Achim Reichel and / or Steve Hillage, but the sound- palette is decidedly contemporary, with endless synchronized delays & comb lterings making the proceeding just so rich & dense.' Keith Fullerton Whitman *Track listing:

imited edition 10" vinyl, serial numbered
Short info: You're going to feel relaxed and ready for summer after listening to fenou #19. On this 2-tracker the Swiss guy Benotmane skillfully combines groovy basslines, melodic synths and carefully adjusted vocal parts. - Somewhere' is one of these tracks that carry you out in the morning sun. Later on when you listen again a melody snippet triggers memories of a perfect moment. The B-side is certainly no less exciting. Although the mood of - Submarine' is more quiet, almost dreamier. Eyes closed, you'll get wrapped in the sounds just to slowly drift away. As usual the 10 vinyl release is again a limited edition and numbered by hand.

Rogue Vogue has been making a name for himself as a producer worth keeping an eye on with releases on French Express and remixes on Deep&Disco & French Horn Rebellion. He's finally ready to release his next original EP titled 'Say You Will' on his new home at House of Disco Records.

'Say You Will' includes 2 originals that brim with the joyous side of 90's house backed up with 3 remixes from Dublin Aunts, LeSale and House of Disco's Sixth Avenue Express. The originals are in keeping with each other while each of the 3 remixes bring something new to the table.

First up is the title track, 'Say You Will' which is a hip swaying homage to the sunny side of 90's house with more hooks than a 'Hellraiser' film. Addictive vocal stabs and sax hits are the name of the game as this one will have you digging in your drawer for those stonewashed jeans you'd forgotten about.

The first of the remixes by Dublin Aunts has a day rave written all over it with an epic acid tinged bassline and clever vocal treatments. The second remix by LeSale takes a slower, sexier tip and just grows and grows, leaning heavily on the keys but also introducing some strings into the equation.

Next up is the second original 'More Than Enough' which samples a vocal that many will recognise and makes it his own. A lot of this originals charm is in the lower end and will come to life on the right system. A dreamy breakdown cements this as a track that you'll keep coming back to.

Finally the last remix of the package by Sixth Avenue Express ads a heavy dose of sleaze to the original with a swinging melody line. Choosing to do away with the dreamy breakdown and instead replace it with an dramatic, elongated and memorable dancefloor moment.

We're very happy to welcome aboard new imprint Back To The Balearics

It's a label on a mission to uncover music with significance, special sounds that can make a moment out of nothing.
In an increasingly fast and disposable world the need for such moments is more important than ever.

The first release, by Belfast's MARICOPA, perfectly defines that sound. His electronic tracks blend naïve beauty with emotional depth in a sonic landscape devoid of all the usual musical clichés of dance music.
Back To The Balearics is a journey to nowhere in particular with plenty of musical stop overs on the way.

We hope you will take the trip...

As if our recent releases hadn't already been spreading the sound of Circus Company into new and exciting places, now our very own silver-tongued enchanter JAW emerges with the first details of his own autonomous project. Somewhere in between the electronic drive of his day job in dOP and the folky, organic instrumentation of Les Fils Du Calvaire, JAW shares with us a new venture that has thrust him into the studio with Lebanese musician Kevork Keshishian. After a chance meeting on the streets of Beirut, the pair struck upon a creative buzz and so "Hazihi Laylaty" was born. Translated as "this is my night", the title references one of the most famous pieces sung by the celebrated Egyptian singer Umm Kalthoum in the early part of the twentieth century. The dusty crackles and haunting strings that begin "Hazihi Laylaty" instantly call to mind the mystery and allure of traditional Arabic music, and the track as a whole fuses this spirit with a subtle wielding of modern electronics to create a thoroughly moody piece of pop-noir. Paying full respect to the complexity and consideration of the original version, both The Sorry Entertainers and Soul Clap embark upon unusual approaches for their remixes, managing to enhance the electronic elements in the track through more prominent production without losing the core ambience of Jaw and Keshishian's creation. JAW has been quietly working on a solo project for many years whilst also engaged with the relentless demand of his life in dOP, and now finally the time has come for people to hear the first snapshot of this venture. Bringing together a vast array of people, singers and producers from all corners of music, JAW's voice provides the glue with which a brave and boundary-l

Neon Neon (Gruff Rhys & Boom Bip) present their new album, Praxis Makes Perfect, the follow up to 2008's Mercury Music Prize nominated Stainless Style.

Praxis Makes Perfect is a musical biopic of Italian Publisher, Giangiacomo Feltrinelli's colourful life viewed through the lens of Gruff Rhys' highly original sound writing and Boom Bip's shimmering synth-heavy production.

Guests on this album include two previous Neon Neon co-conspirators in Josh Klinghoffer of Red Hot Chilli Peppers and Cardiff's Cate Le Bon, plus Italian pop sensation Sabrina Salerno and actress Asia Argento.
1. Praxis Makes Perfect 2. The Jaguar 3.Dr. Zhivago 4. Hoops with Fidel 5. Hammer & Sickle 6. Shopping (I Like To) 7. Mid Century Modern Nightmare 8. The Leopard 9.Listen to the Rainbow 10. Ciao Feltrinelli.

BONUS CD (With CDX version) 1. Years of Lead 2. Fuga in Avanti 3. Socalism at Sea (Take in the sails, head into the wind) 4. Non Aligned States.

Andomat (Cecille, Highgrade, Einmaleins) is back in combination with Mister McWeird (9Volt, Plattenbau, Cometomusic) . After his first EP for Microtonal this is a masterpiece in Techno - squirky, freaky, kickass, bassheavy and fast forward !!!

Fresh from the success of the Guilty Pleasures EP by Satin Jackets & Ejeca, next up from the ever growing House of Disco Records is Finnebassen's - 'Baby' EP. Boasting make overs from Monitor 66, Ron Basejam and Debonair along with the original track itself, this is a vinyl with credentials that speak for themselves.

The EP opens with the original track 'Baby' from the Norwegian born producer Finnebassen. With previous releases titled 'Babies' 'Footsteps' and 'Bleedin out' I'm starting to wonder if there's some sort of subliminal message at work. However with the rate at which he's been outputting releases lately there are no signs that he has anything other than more music on the way. 'Baby' is not what we have become accustomed to expecting from Finnebassen, it strays away from his usual deep poignant echoing house tracks. Instead it's a rich funk filled gem of a track that he's shown he is capable of through his 'silly pilly edit' of It's gonna take a long time. With bluesy lead guitar riffs and his trademark bass line it's the perfect soundtrack for a blossoming summer season.

The first remix of the EP comes from Swedish trio Monitor 66 who produce under the ethos of creating ''music for sunsets.' The track certainly embodies that motif as gorgeous saxophone licks and chiming synths over a shifting bassline give it a deep tropical feel. Next up is the remix from James Baron, or as the anagram works and we know him as, Ron Basejam. His remix is more of a straight up boogie house track letting the echoing vocals do a lot of the work whilst being complimented by sprinkles of playful keys. The sliced vocals work a treat and he manages to maintain the tracks strong groove throughout. The final remix of the EP comes from London based artist Debonair who strips down the track into a deep atmospheric affair making it the perfect weapon of choice for an after hour set. Ominous kicks and the spades of tension and atmosphere will make sure that fists are pumping well into the early hours of the morning.

The whole EP is brimming with groove and if you find yourself missing Finnebassens deep echoing trademark sound from the original track then you can find essence of it in the remixes. This release speaks volumes for the trajectory of 'House of Disco Records' as a label that's constantly maturing and sidestepping pigeonholes.

Raudive a.k.a. Oliver Ho heads home with two guilty dancefloor pleasures. Gritty surface, smoove bottom. For those damp, dimly lit cellar clubs: low ceilings, fog, smoke and all that. 'Ruins' runs a relentless groove against angular guitar overtones, blowing out the valves of its amplifier. Metal sheets, rusty strings, sweaty bodies. 'Visitor' is built on a naughty percussion sequence and is elevated by a morphed girl's inquiring voice straight out of a 1984 Shibuya version of Blade Runner. Kinky. Essential 2013.

"Mad" is one of the the main songs taken from the soundtrack of the 1980s film "Qua La Mano" (whose music was entirely written by the music maestro Detto Mariano). On the B side there is the instrumental version "Gocce D'Acqua", taken from another scene of the movie. This limited edition vinyl comes with a coloured cover artwork with original pictures of the movie (from the dance competition scene where Adriano Celentano is dancing), and a special insert paper where you can read the full story of the soundtrack told from the author Detto Mariano.

Six years have passed since the last album by Andi Otto alias Springintgut, ("Park and Ride", City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His "Fello" is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, "Where We Need No Map" Otto takes the "Fello" to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like "Ka- mogawa Cycling" and "Western Kyoto". In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in "Bullet" one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of "Where We Need No Map" points us to unknown territories. The journey itself is the reward, let's listen!

Sechs Jahre sind seit dem letzten Album "Park and Ride" (City Centre Offices, 2007) von Andi Otto alias Springintgut bereits vergangen. Diese Zeit hat der Pingipung-Mitinhaber genutzt, nicht weni- ger als ein eigenes Instrument zu erfinden: das "Fello", ein Cello mit Bewegungssensoren auf dem Bogen und einer dazu gehörigen Soft- ware. Die Grundlagen dafür entstehen bereits 2007 am STEIM in Amsterdam. In der Folgezeit gelingt es Otto, das Instrument immer weiter zu verfeinern, mit unterschiedlichen Künstlern zu kooperieren und international aufzutreten. Für "Where We Need No Map" trägt Otto das Fello erstmals ins Hamburger Studio und nimmt unzählige Sessions auf, in denen die Gesten des Bogens direkt den verstärkten Sound des Cellos verändern und neu formen. Diese Fello-Sitzungen werden anschließend editiert und mit anderen Ein- flüssen vermengt, die von Skweee über House bis hin zum Jazz reichen. Der Markenzeichen-Sound von Springintgut, diese ureigene Verspieltheit, ist weiterhin vorhanden, gewinnt durch das live-pro- zessierte Cello aber eine bisher unerreichte Tiefe. Weitere Farbe erhält das Album durch Ottos zahl- reiche Tourneen in ferne Länder. Zwei Stücke ent- stehen in Indien. Die Stimme von "Bangalore Kids" ist eine Feldaufnahme eines Schuljungen im Cubbon Park in Bangalore. In Japan verbringt Andi Otto drei Monate als "Artist in Residence" in der Villa Kamogawa in Kyoto. Während dieser kon- zentrierten Zeit entstehen die ruhigeren Tracks des Albums wie "Kamogawa Cycling" und "Western Kyoto". In Sri Lanka lernt er dann Sasha Perera kennen, die Stimme von Jahcoozi. Sie nehmen zwei Songs zusammen auf. Vor allem in "Bullet" kann man der faulen Nachmittagshitze nachspü- ren, in der die Stücke entstanden sind. So lassen sich die vielfältigen Entstehungspunk- te von "Where We Need No Map" zwar karto- graphieren, aber der Sound des Albums schickt einen trotzdem in unbekanntes Terrain. "Der Weg ist das Ziel, frag nicht viel, hör mal..."

Brodanse´s 'Danse Club Records' returns with another 90`s New Jersey gem reworked for 2013 with remix duties this time going to Just Be, Lula Circus & Chubby Dubz ... Danse Club Records, the label started by DJ/production sibling duo Brodanse has made a sterling start so far with releases of classic 90`s US house cuts remixed by the likes of Matt Tolfrey, Oliver $, Moodymanc & Brodanse themselves.

The reaction has been outstanding at a time where there is an obvious embracing of all things nineties and DJs such as Danny Tenaglia, Maxxi Soundsytem, Seth Troxler, Huxley & Dusky have been queuing up to lend their backing. For their latest release Danse Club look once again to New Jerseys historic shores, this time picking up an old record from US soul house duo The Burrell Brothers and drafting in three hot production acts to rework this much loved tune.
To start the package we have the original "club dub" version, giving an insight into the records history with it`s mid nineties feel and production still standing up wonderfully.

The first of the remixes sees Crosstown Rebels and Get Physical artist Just Be AKA Matthew Bushwaka deliver his"Insomniac mix",
a bumping slice of underground house music that marries a bass driven groove, organic percussion and subtle melodic elements with snippets of the vocal to supreme effect.

Next up we have Italian production duo Lula Circus whose releases for the likes of Culprit and Noir have been creating quite a stir. Here they deliver a brilliant rework of "Non Stop" in the shape of a deep old school house workout that makes the most of the soulful vocals with its simplistic, hypnotic backing. With its timeless quality, this mix is certain to be mainstay in DJ boxes for months and years to come.

The penultimate version sees the excellent Chubby Dubz offer up an outstanding mix that cuts and pastes the original parts in a raw house style. Closing the package there is a bonus dub of Just Be`s Insomniac mix that rounds things off nicely. This is another winning package from the Danse-Club label and with original artist material from Brodanse in the pipeline alongside further remix packages there is much to look forward to.

002 is coming from M.in (Desolat, Cecille) with two tech-house slammers
and big remixes from Pig & Dan (Cocoon, Elevate, Soma, Bedrock) and
RabaukeN residents Sebastian Phillip & Danito.

Mainrecords celebrates the 10th anniversary with a 10".
The recordshop in Offenbach is existing since 2002 (former blowshop and koma records).
We want to celebrate it with this special 10" Release. 

Alex Font is a serious guy who knows that now is his time. A multi-instrumentalist, as well as a producer and DJ, he can sometimes be seen on stage in trademark shirt and bow tie. He declares himself a lover of vinyl and, above all, what he calls real house. I think that says it all.

'NOW IS MY TIME' is the fifth release on the Oblack label and is available in black vinyl and digital. It is undeniable proof that Alex Font has arrived and is now a permanent force on the House scene, mainly in soul and dance, but who also knows how to reinvent his sound using new tech. Always with an eye on the future of sound innovation, he still manages to keep hold of his roots and respect his great influences. Well, nothing less would do. On this EP you can tell that Alex Font (remember, this is one serious guy) knows what he has in his hands and spinning on his turntable. His knowledge of musical composition, harmony and engineering skills jump out at you as soon as the first beat of 'Now is my time' hits the speakers: darkness, sophistication, soul and groove. There's a perfect command of tempo, of where, when and how. You pick up on the instrumental skills which allow him to do what he wants, when he wants. That's what's so great about this: you're struck by the ease of how such perfect technique and astoundingly good taste come together. Digitally analogical (or is it the other way round), this is the deeply profound vs. the dancefloor. It fascinates and liberates, carrying you off through different dimensions before breaking out of itself, with no need for artificial fanfares as it's so perfectly defined by Chicagoan pianos, hi-hats, funkoid vocals, etc. He's simply extraordinary: Alex Font signed by Oblack 005.

The remix by Martinez gives this track a technical edge and club splendor. Leaving out the more classic elements of house that are present in the original, the Swedish producer slows things down so that it doesn't lose any of its elegance, but at the same time the track gains punch on the dancefloor, and there's no doubt that it works. As cool as it is effective at inciting dance and everything else that comes with gyrating your pelvis in the early hours of the morning.

Finally, the Argentinian Shall Ocin plays the scoundrel here by adding diverse electronic elements that take the track into a new dimension. By giving the vocal more prominence, here it takes centre stage, and over a well-layered tech-house base, it makes the tremendous savoir faire of the original literally surf, while at the same time respecting and completing it.

In the end, it's great that you know that this is your time and that you want to share it, through Oblack and on vinyl, with all of us. Thanks comrade.

*Winston Wright is another unsung hero from the Jamaican musical
cannon. Although many might not know his name, you will have
heard him on many records in your collections. When we say that
it was he who played that classic Hammond organ riff on the
1969 'Liquidator' classic, as part of the Harry J Allstars, we might
begin to appreciate his talents that bit more. But not only this, many
1970's classics carry his organ, piano and arranging skills and
even before that time, many tunes cut in the 1960's,as part of Duke
Reid's house band Tommy McCook's Supersonics, carried the

Winston Wright signature sound.

Winston Wright (b 1944 , Jamaica) began his musical career in
the 1960's as a session player and soon became an integral part
of the Treasure Isle Studio house band, that became known as
Tommy McCook's Supersonics . He played on many of the
Rocksteady era hits that Duke Reid ruled the island with between
1966-1968.His mastery of the Hammond organ made him an in
demand session player. One such was Harry J studio's that had a
massive hit in the UK in 1969 with 'Liquidator' as the Harry J
Allstars of which Winston was a member. The same year saw him
cut some great tunes as part of Clancy Eccles' Dynamites.
The 1970's saw Winston Wright working closely with Dynamic
Sounds Studios' nucleus of musicians Cutting material for all the top
producers of the time including numerous sides for Bunny 'Striker'
Lee, which we have focused on for this set of tunes. From 1975
onwards Winston Wright was a member of Toots and the Maytals'
touring band, but we celebrate here his mighty fine studio work.
Adding his touches to many a fine rhythm as only Winston could
we hope you enjoy the set.

Dutch producers Mindmapper & Fre4knc team up to deliver the 'Martial Manners' EP in celebration of Translation Recordings' tenth vinyl release, which comes on a visually stunning piece of crystal & transparent white vinyl! Up first is 'Collessius,' whose heavy-rolling bassline rushes in with the
force of a tsunami, leaving a wake of dancefloor destruction in its path. 'Shutter Angel' is a futuristic track where tight, snappy breakbeats slingshot back and forth between an electrifying bassline that surges across the airwaves like a beam of focused energy. Mindmapper & Fre4knc
delve into darker territories on 'Fenryr,' whose gritty atmospherics and subterranean low
frequencies deliver a unique and immersive listening experience. They close the EP on a deep, meditative note with 'Mind of Steel' (digital only) where drum edits slice through growling bass riffs with blade-like precision. The 'Martial Manners' EP strikes the perfect balance between dancefloor and experimental to carry on Translation Recordings' ongoing mission to bridge audiences with quality music that can be enjoyed in all listening environments.

Elon make with the DIY vibes on the smart EP. Fans of Live Jam releases, listen up! On the title track sharp cuts, tight bursts of sound and loose percussion combine into a complex rhythm that is kept in check by a nice tumbling bassline. Jazz breaks hit the speakers with Got Ya, Tiger! Like a night out in Soho in 1962 brought back to life on an MPC. The bruising bassline just shouts 'Dance Or I'll Kick You In The Guts". Alex Celler's Broken Circuit Dub of Got Ya, Tiger! ramps up that kicking a notch. All those bruising elements are still there, but the guy grinds those jazz breaks up in his big metal jaws and spits out a gobful of twisted future. And you're gonna like it! Elon team up with Stefny on Téo, which finishes the EP. And you can feel her effect - she clearly loves a cheeky little synth line, because there are plenty of them here... squalking, meeping and dooping in perfect harmony to create a nice trancey brainfeeder. Nice.

If geography has an impact on music, then Vienna has coloured Tosca's music at every turn. Over the course of a career spanning two decades, the Austrian capital has inspired Richard Dorfmeister (of Kruder & Dorfmeister fame) and Rupert Huber to make electronic mood pieces coloured with Mitteleuropean melancholy.It's a bittersweet juxtaposition that is much in evidence on the pair's new album, 'Odeon'. It opens with the hazy strings of 'Zur Guten', which ebbs into the oozing keys and pizzicato steel string guitars of 'What If', which features a smokey vocal from Sarah Carlier. Lead single 'Jayjay' is a haunted combination of sombre piano chords, rolling drums and weird, otherworldly vocals from JJ Jones. It's the pivotal track on a record that sees Tosca tapping into gothic atmospheres. It's darker than their previous five albums, more downbeat, at times ambient. It's unlike anything else out there at the moment.Is there a reason for this sombre tone Nothing specific. "Obviously our music is influenced by our experiences of life - it couldn't be any other way - so in some senses it's a kind of diary, but there weren't any single incidents that caused the record to be that little bit darker," says Dorfmeister. If anything, the exact opposite is true: life has been good. "Over the last year I think we've both learnt to be more generous and to understand our own limitations and other people's" says Huber. A case of musical yin and personal yang, then.The album's name, meanwhile, comes from the venue in Vienna where Tosca debuted the new material in October. The performance went so well they decided it would make a fortuitous name - the music/place interface in action once again. The performance features as a bonus disc on the deluxe version of the album, which will be available exclusively via !K7's webstore. More than anything, 'Odeon' is the sound of a band at the top of their game. A good time for them to release a career retrospective then. Dorfmeister reflects on the band's history. "It sounds like a cliche, but we've never really thought about other people's music when we're writing our own," he says. "We try and create our own sound. We really have always been like that. And I think we've developed a trademark sound because of that." They certainly have. It's been called the "Vienna sound". And, in updated form, it still sounds like nothing else.
Double Gatefold LP with bonus CD of the entire album

the second part of the in-demand " Cero" by Galarude ( DJ Kent and homies from Sly Moongose and Tokyo No. 1 Soulset ) that had been a secret weapon of a selected few DJ glitterati since it's original Japan-only release in 2004 delievers another set of knockout mixes: Prins Thomas flatens the originals tribal elements with hard whiping beats and a forceful steamroller of a bassline yet keeps the headmessing ingredients intact with all those swirling, spinning soundparts that one can also enjoy in higher dosage with the "ambient miks" for daytripping on your homecouch. Tuff City Kids aka Lauer and Gerd Janson corrborate how they persistently tweaked themselves to the a-list of remixing teams with two expertly constructed, infectiously swinging house mixes that keep the acid purity level high and carry the promise of a neverending summer of love.

REPRESSED !!
Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic Circle 1. A full round kick and jack style upbeats are all that's necessary to support the deep, modulated synth lines that travel through lush plates of reverb. Alberto Pascual hits a homerun with his remix that will move any club, festival, or warehouse party. Project 313's remix supplies moving synth lines are stripped down and replaced with driving rhythms and pulsating bass making this a superb techno offering. The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms complimented by science- fictionesque stabs and pounding bass.

The 'Circle 2' EP is an essential piece of Detroit minimalism. Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic 'Circle 1'.

The EP starts off with Mutate's 'Circle 2' (Machined) original. A full round kick and jack style upbeats are all that are necessary to support the deep, modulated synth lines
that travel through lush plates of reverb, creating an atmosphere perfect for any techno desire from dance floor, to living room, to headphones.

Alberto Pascual hits a homerun with a remix that will move any club, festival, or warehouse party. Big room percussion, moving sub bass, and funky rim shots compliment the dark synths from the original.

Project 313's remix delivers with an interpretation that celebrates the true spirit of the original. Moving synth lines are stripped down and replaced with driving rhythms and pulsating bass, making this a superb techno offering.

The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms, complimented by science-fictionesque stabs and pounding bass.



DJ's Supporting release:


A.Trebor, Alberto Pascual, Altstadt Echo, Angel Alanis, Anthony Jimenez, Audio Injection , Brendon Moeller, Bruno Ledesma, Chris Liebing, Claude Young, Dadub, Daegon, DCibel, Developer, Drumcell, DVS1, Erphun, Exium - Hector, Exium - Valentin, Felix Lorusso, Hyperactive, Jeff Derringer, Joachim Spieth, Joel Morgan, Justin James, MADA Cedric, Mas Teeveh, Material Object, Measure Divide, Memnok , Monocraft, Morgan Thomas, Octave, Onoffon, Project 313, Rene Walther, Ricardo Garduno, Sigha, Sone, Submerge, Tommy Four Seven, Tony Kasper

Away from the hypnotic mayhem of the floating roofscapes, we see fractured images cycling faster.
Just as clouds follow the wind, airy soundscapes track the low-end groundwork with grainy artifacts bursting in amongst the thick.
Lost in this surrounding ambience, the B side carves its way with a resonant materiality where shattering hi-hats pull you out of a hypnotic semi-dormant state.
(B2) enters a sound voyage, an intimate balance between gloomy atmospheres, dark sirens and repeated upcoming unidentified melodies, that play against the ceaseless motion of the hi-hat motive.

Tablon is a new France based independent record label. Supporting artists with a characteristic style, tablon releases music by passion, developing its own vision of today's and tomorrow's dance music.
After a first EP by Arnaud linked in a certain way to Greece, tablon 002 will come from Istanbul. Far from us the idea to make a worldwide music label or refer to any old war between two countries. It just happened like that. Sarp makes amazing music and we are proud to present his new EP. It is called "I care because you don't", the artwork is made by Nefelie and the mastering by Mathieu Berthet in Paris. As we care a lot about the vinyl thing, our releases appear first on 12" and then in digital.
"Hi, I am Sarp Yilmaz. No, not your household name, not the next megaDj, not the chart topper, just a guy with some machines and a passion in his heart, who is supported by some other guy who runs this young, fresh label, who is mad enough to release music that is not bassline obsessed, not fitting any of the genre slots of your favorite online store, that is as much hip hop and jazz as it's house. No, this will not destroy your dancefloor, nor will it make you dance like there's tomorrow, it's moody, sometimes even depressive, but I made it with a smile on my face. It's trippy, it's glitchy and it's slow. Music, I make to cure the sicknesses of my heart. Hope it puts a smile on your face too. I care because you don't".
Sarp Yilmaz - I care because you don't EP

* TO CELEBRATE JAMAICA'S 50 YEARS OF INDEPENDANCE 1962-2012 We have put together a set of releases that cover the musical styles that reggae mutated into through it's history, SKA, ROCKSTEADY, ROOTS REGGAE, DUB, DJ STYLE &DANCEHALL.... So Listen Up! and enjoy!Welcome to the Dancehall Sound from Jamaica. The sound that grew out of the dances in Jamaica around the beginning ofthe 1980's.The musical style again slowed
the reggae beat down to give an uncluttered, sparce backdrop, allowing the singers and DJ's more space to express
themselves. Dancehall has never stopped but turned to a digital beat around the mid - 1980's. So Listen Up ! to some early Dancehall classics that set the style for the years that followed....

The time has come. The funky nerd and knob-handler Erdbeerschnitzel alias Tim Keiling is releasing his first physical album on Mirau. The young producer, who has moved from his hometown of Mittelfischbach to Bonn, tapped into the lode of versatility early on, and has been extracting one surprise after another ever since. After single-handedly releasing a first digital album that was obviously bursting with ideas ('Pathetik Party', 2009), Erdbeerschnitzel rapidly made himself a name with first-class single releases in the following years on 3rd Strike Records, 4 Lux and Mirau - a name not easily forgotten. The release of the much-celebrated single 'To an End' on Mirau made clear that this was but the beginning of a work together. In the wake of anticipation created by the digital single 'Through the Night', the album 'Tender Leaf' is now available on beautifully packed double vinyl. 'Tender Leaf' is a collection of 12 wonderful tracks, splashing at the edges with Erdbeerschnitzel's signature deep, driving vibe throughout the entire album, pulling us into a pool of swinging, iridescent oomph. Each elaborate audio-bouquet is full of spirit. Sometimes weirdly romantic and introverted, then breaking out into raucous assemblage, flaunting sonar reverb. Keiling's production makes these gems sound like an essence of all the music around us today, which calls out to us in echoing vocal traces. In 'The Mattress Excursions', guest singer 'The Drifter' steers his soulful voice through the escalating arrangement and broken beats as we remember from early Jamie Lidell tracks. Erdbeerschnitzel frequently gives things a humorous turn, flashing us winks from the midst of the fray. His characteristic beat programming, clever and exulting, makes otherwise bland patterns swing into pulsating vivacity; picking up on contemporary styles and aesthetics, he re-animates sounds within his own parameters. Multifacet-flow

'Little Drummer Girl' is a stunningly rich, diverse and futuristic 4-track EP from the Brooklyn duo Tiger Fingers. A collaboration between Jordan Lieb (also known as Black Light Smoke) and Asako Kujimoto. The cheekily-named pair have assembled three unique remixes of their title track - each as bold and refreshing as the other. The A side kicks off with the original - all bubbling synths, arps and effects, and a subtle yet disturbing vocal from Asako. Beats and thunderous synth riffs combine with speak 'n' spell samples to produce a mesmerizing brand of 22nd century electro pop. Next up is the 'Night Plane Club Mix' - one of two remixes the Texan William Rauscher provides for this release. The club mix straightens out the groove and develops the track into a crisp house groover, finding plenty of space for old school sub bass, chiming 808 percussion and washed out, ethereal vocals - huge vibes for the floor. 'The Night Plane Remix' sees Rauscher explore more glitchy, post-everything, acid-flecked waters - an atmospheric, twisted stormer. Last but by no means least is the Hotflush man-of-the-moment, Jimmy Edgar. His take on 'Little Drummer Girl' uses the original as a springboard, from which he constructs a slamming electro-boogie-space-jam. Deeply funky, highly charged, and immensely inventive club music. 'Little Drummer Girl' is taken from Tiger Fingers debut minialbum which is due for release on hafendisko in December. About Tiger Fingers: The upcoming self-titled debut album by Tiger Fingers, the duo of Jordan Lieb and Asako Fujimoto, almost never saw the light of day. Recorded in the aftermath of their first collaboration, the aggressive electro-rock band Dead Radar (2005-2007), Tiger Fingers yielded six decidedly more dance and pop inspired tunes filled

About the sound you'll certainly remember this Pimouss record for a long time too... Part of the Fanatik Sound System this EP starts with the long remix of "Emporté Par La Foule" (Edith Piaf) . A real good french Techno style. On the B side you'll hear 2 excellent tracks as well... A pure diamond for the dancefloor ! Loud cut. STRONG STUFF !!

Aroy Dee's MOS Deep returns with a new EP from Italians Ksoul & Muteoscillator, both of whom have appeared on labels like Uzuri and Ksoul's own Kinda Soul with a gauzy, dense sound somewhere between techno, acid and full on electronica.
'Criminology' comes in two parts on the a-side: the first is a fizzing, almost impenetrable network of analogue lines with acid buried deep below sharp percussion and behind a mysterious little melody phrase, whilst the second features a different sort of acid: it's brighter and seems to twist and turn with a life of its own.The b-side is 'Aphrology' as edited by Aroy himself. The underlying vibe here is house, though a squealing world of ticking machines, squirming synths and jangling percussive rhythms make it a heady and intense listen.Finally, the same track appears in its original form where tumbling drums, bleeding acid and a steppers rhythm join the dots between many different worlds: the heady results are sure to make dancefloors go cerrrrazy.