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Brian Kage returns on Michigander with the, 'Best Kept Secret EP.' Kage once again provides three deeply emotional dance tracks filled with his signature warmth that immediately draw connections between personal memories and Michigan's natural splendor. Best Kept Secret starts the record off with tones of hypnotic bells that cascade down from within minor chords that hypnotize the listener until they are met with swelling strings to tie the infectious grooves to intelligent vintage percussion. Lush vocals continue building into an atmosphere of nostalgia and eventually gives way to that moment of intimacy that can only be felt outdoors while exploring with a person they love. Lost on Old Free-soil Road features a detuned analog synth-line that winds up and down over a bed of spooky night-time forest field-recordings which are encompassed by a jackin' 909 beat . Suddenly, juno stabs straight from the 80's pierce through sending the syncopated grooves back the direction they came from taking dancers along for the joyful ride. Cruise Control on US-31 rounds out the record with an infectious blend of pitched wooden toms, warm mid-range bass, deep 303 lines, and a smoky pad straight from a vintage rhodes. All these elements help keep the composition positive & relaxing, while expertly conjuring the feeling of sun on your face. This tune is the perfect tool for any DJ interested in luring day-partiers to a space where they can't resist bobbing their heads and enjoying their summer outside.

G. Markus returns with two fresh edits after his first G-Edits release sold out and enjoyed heavy support from all sorts of discjockeys. '70s soul/disco is the flavour here with a legendary diva getting the treatment, with one big peak-time banger and a slo-mo chugger for good measure. Danvers helps thickens things up in the bass department with some live electric bass on both tracks.

Alek Stark is responsible for some of the finest boutique vinyl releases available. His 808 boxes, DMX drum machine replica and plexi-glass sleeves for Fundamental Records are legendary in the electro fraternity.

Stark's attention to detail in everything he does is particularly apparent in his music - his tracks are all first class analogue electro. He pulls no punches on this E.P. with heavy 808 percussion alongside a myriad of modular noise and synth workouts.

Cold, robotic and reminiscent of early Psyche / BFC with deep chorused pads creating an off-world dystopian theme that runs throughout this release.

The concept of this record is simple, 4 artists join forces to create these non compromising, focussed DJ tools which marks the start of a new release series. The Berlin based producers Avgusto, Jamie Anderson and STRISC. are no stranger to Florian Meindl's FLASH Recordings with several releases on the label and Rekord 61 from Moscow is a new addition to the roaster. Vinyl only.

For our second release we brought back to life African movie soundtrack "Ceddo" - composed by one of our favourite African artists, Manu Dibango. 6 tracks full of Funk. With a great story behind.... now it's getting a full vinyl re-issue!

"The film takes place during the 17th century : period of slave-trading and of the introduction of Christianity and Islam in West Africa. The adherents of these religions all desired and hoped to pack their buildings, mosques or churches,by whatever means necessary. Arms and alcohol began to appear, as well as shoddy godds --- gadgets from another era. Anyone with a rifle tracked down and trated men, women and children. Man became money. After having converted the royal family and government dignitaries, the Imam encounters the refusal of the "Ceddo". For the Ceddo, adhering to Islam or to Catholicism would mean renouncing African spiritualism, giving up being themselves. To accomplish his goals, the Imam usurps the throne with the complicity of the dignitaries --- similar to the coups d'Etat of our days. Combining spiritual and temporal power, the Imam reduces the recalcitrant to slavery in exchange for rifles. He obliges the others by force of arms to accept Islam. Ceddo is a film of reflexion, birnging together bits and pieces of facts and authentic events that took place in a period spanning the centuries up to the present day."

Ekoplekz returns with his fourth album for Planet Mu, in the shape of 10-tracker "Bioprodukt". The unique lo-fi, woozy sound of Bristol's Nick Edwards stays intact while he veers towards the nineties for inspiration: the bleep and bass sound of the north of England is one touchpoint and the acid gurgles of the 303 are another. While the murky lo-fi production levels and evocative melodies remain, they are now bolstered by a more muscular rhythmic chassis. Snappier kicks and snares mingle with dense layers of percussion and deep undulating sub-basslines adding a funkier edge, as typified by opening track "Elevation" where playful beats interlock with breezy keyboard flourishes to create something uncharacteristically upbeat. Similarly, the gentle, fluid motion of "Slipstream" and "Calypzoid" represent some of the most appealingly chilled grooves in the Ekoplekz canon to date. But the darker-edged material remains. "Expedition" has a pensive, percussion-heavy feel whilst "Acrid Acid" is a dirt-encrusted slow-mo techno meltdown. "Transcience" displays the Ekoplekz trademark dub-fx in full flight over a driving lo-end, before "Descent" leads down to the final section, where the beats fade out, replaced by rippling layers of spectral ferric ambience on the epic "Low-X Over", before finishing with the radiant looped stasis of "Denier Daze". The albums shifting, mperfect patterns and muted colours are visually mirrored in the beautifully realised sleeve by the Print Project.

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision.

This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.

Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few.

Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision. This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.
Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few. Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

*The first ever personally endorsed and officially licensed remix of Ned Doheny*
*Record Store Day 2017 Worldwide Exclusive*
*Original artwork by globally acclaimed illustrator Pete Fowler*
London/LA producer Kenny Dickenson crafted his stunning remix of Ned Doheny's "Labor Of Love" to mark the Be With Ned tour in March 2015. The gentle disco re-rub was leaked by influential blogs and has been wreaking elegant havoc on both sides of the Atlantic ever since, setting a new gold standard for AOR remixes. Beloved of everyone who's heard it, we've been inundated with requests for a physical version.
As RedKen, Dickenson came to prominence with his cult edit of Steve Perry's "She's Mine" - an instant hit on the AOR Disco scene - whilst his double A Side Fleetwood Mac 12" with Psychemagik was number 1 across Juno, Piccadilly and countless others, gaining him further notoriety. Here, taking Ned's stellar version and creating new melodies by twisting original sax solos inside out, Kenny's remix is elevated further with the introduction of his sophisticated keyboard work and additional white-hot production.
Completed the day of Ned's penultimate show, Kenny bounded up to Pete Fowler - on DJ duties - and handed him the demo. Ever the showman, Pete played it seconds after Ned finished. Momentarily mortified at the chutzpah involved, we realised we were listening to something sensational. The key element would be Ned's opinion. He aired it the next day, breaking a drained silence as we boarded a flight to Berlin: "There was a remix of my song played last night." Heart in mouth, we were in for a deserved dressing down. "Pretty good, I liked it." And with that, we were determined to commit this wonderful reimagining to vinyl.
After two years of major label wrangling and artist nudging, Be With Records are delighted to finally present this as an officially authorised, one-sided 12". Enhancing the package, the record comes appropriately adorned with striking new artwork from Pete Fowler himself and liner notes from all parties involved. Limited to just 500 copies, these are sure to fly.

Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album In Remembrance'.

The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western.

Delia explains that what she observed was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.'

The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn't changed - the cast, times and settings have, but we still hold onto the same ideal.

Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman's McCabe & Mrs Miller.

The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to going to the finest tailor'. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator' regarding the sound of the record.

The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to 'Salon De Musique', the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.

Something special: Frenchman Sebastien Bouchet is launching his brand-new Sebastopol project. New name, same deliciously deviant electronica: his debut is compiled with serious detail and a cool coherency of humanised textures, trippiness and barbed, shadowy soul.

'Assassin' shoots to kill with its pranged-out toplines, gloriously wonked-out bass hooked and slurred vocal elements while
'Manethon' trips out on a broken note and melts into one of Sebastien's most magically far-out breakdowns to date.

The remixers echo his unique creativity with two suberb versions: Alessandro Adriani whips up dense layers of psychedelic tech on 'Assassin', while Privacy adds a gritty physical crunch to 'Manethon'. Bringing the whole package together with a range that will resonate with all corners, this signs the start of a whole new chapter for Sebastopol. We can't wait to hear what he brings next.

Coming hot on the heels of Samuel Rohrer'sRange of Regularity album are two EPs of striking reinterpreta- tions. These new remixes provide an intriguing parallax view of the original tracks, using the percussive eclecticism of the parent LP as a starting point from which to journey into soni- cally vibrant, feature-rich territories. The production specia- lists on the first EP include Ricardo Villalobos and Vilod, the collaborative duo with Max Loderbauer. Villalobos, has alrea- dy formed a strong working relationship with Rohrer's AM- BIQ trio, lends his talents to both of these new EPs. The se- cond one will be completed by a remix of Burnt Friedman. Each individual remix has its own character, they are all united in their ability to provide a quick cure for fatigue with the common loop': they are strung together from fleeting phra- ses that evolve as if they are taking on a life independent of their creators.Villalobos' compelling take on Lenina' pulsates from start to finish with a kind of voluntary anxiety, a commitment to painting every corner of the sonic surface with clearly defined pointillist touches. While this kind of approach would cause less confident producers to collapse at their editing worksta- tion, Villalobos takes to the task with gusto - leaving see- mingly no corner un-animated by sound, he pieces together something surprisingly funky and hyper-real from a catalog of distinct percussive hits, time-reversed ephemera, and playful kitchen sink' ambience. Vilod's Uncertain Grace' remix, though marginally more laidback than the flipside, is no less engaging. A buzzing beehive of activity powered by an organ- like refrain, this is one of those pieces that will induce a fee- ling of perpetual movement into even the most still of physi- cal surroundings. This is especially true when, after four and a half minutes of flotation, a straight-ahead techno rhythm ta- kes over and all the disparate hovering elements fall into place.

Ikonika's third album 'Distractions' builds on 2013's 'Aerotropolis', and the title answers the question Why has the album taken so long' In the last few years she's been building up a strong CV of remixes, from Chvurches to Dawn Richard, Austra and Junior Boys, as well as DJing and working on this album. 'Distractions' distils the character of Ikonika's music productions across a wider set of styles than previous albums, and she subtly fuses and switches elements from contrasting genres, giving the whole set a uniqueness and consistency that puts it in its own lane. Furthermore what sits at the centre of 'Distractions' more than ever is her love of R&B and hip hop, in all its forms, which has opened the door to bring in a selection of guests in a way she's not fully explored before. From the full throttle blend of grime and 80s synth soul 'Noblest' with Andrea Galaxy, to the reflective 'Sacrifice' with up and coming MC Jammz, a slowjam that merges dubstep with hip house drums. The final vocal track is the languid 'Hazefield' co-produced with Sweyn J and featuring Jessy Lanza on vocals. Its mix of mechanic clunk and minimalist, lulling funk could only happen in 2017. The LP artwork takes its inspiration from West London's Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It's this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes.

Fusing tantric sexual spirituality and speech with the energy of pounding beats and a functional driving acid baseline. According to Thee J Johanz it's inspired by an incidental visit at Love Temple (Arambol, India).

Fusing tantric sexual spirituality and speech with the energy of pounding beats and a functional driving acid baseline. According to Thee J Johanz it's inspired by an incidental visit at Love Temple (Arambol, India). Tantric Temple stirs and elevates the floor, making all 'feel as one' through a unifying vocal climax. The Tantric Bricastic version channels basic raw and dance energy, stripped down and nice in the mix. Last track Once Upon A Time, a co-production with Nathan Homan, explores the outer zone with some dubby acid disco tech with a tasty spaghetti western touch. Sleeve art by David Homan.

(Locked Groove, Nuno De Satos remixes) Something Happening Somewhere and Mary Go Wild combine their forces for a very special record, containing two cuts by Presk and remixes by Locked Groove and label honcho Nuno dos Santos.

Something Happening Somewhere and Mary Go Wild combine their forces for a very special record, containing two cuts by Presk and remixes by Locked Groove and label honcho Nuno dos Santos. The original A1 side has already been released on SoHaSo last summer on their SOMEWHERE compilation, but has now found a place on delicious black gold and is further enriched with a fresh B-side and aforementioned remixers delivering quality reworks.

2BXPRZD is an ode to the celebration of night life and the diverse spectrum of people that move within it. The club has always been a place where people from every background, religion and gender imaginable can meet and express their being through Dancing. It doesn't matter in what way you move, only that it's authentic and respecting towards the fellow dancers around you. Presk provides all the necessary ingredients: the funkiness in the drums melting with the dark and sinister bassline and pitched vocal perfectly assemble the conditions for such an interaction to take place.

Locked Groove takes this celebratory dance and turns it into an even darker and hypnotizing affair. Stripping the original to its bare essence with a pounding kickdrum to lead the way. Pulsing atmospheres and emotive pads swirl around and behind, granulated in a way that they almost fall apart. This is further reinforced by the stream of voices that are processed to sound like a field recording from beyond the iron curtain in Soviet times, anticipating the unavoidable collapse that follows.

The B sides provides a little more uplifting environment with Starets, unsettling melodies and dissonant atmospheres propel forward before restraining the whole thing and letting broken chord stabs seep through the system. Again reworking the original material into a more skeletal structure, Nuno dos Santos adds a poignant arp melody that is typical for his melancholic style. Driving yet breathing with emotion, it's the perfect accompaniment for a night drive while floating through clear skies. This records proves a delightful combination, containing something imperative for every soul feeling the need to express themselves in a unique way.

It's time after Christian Burkhardt's Great Album "Nonstop" for the remix ep!
Mr. Brett Johnson & Guti showing us their interpretations of "Eector" and Djebali presents his definition of "fine Line".

Strong remix package - woth to check!

The next instalment of the Slow Motion Soundtracks Serie, this time from Pordenone's Alessandro Parisi.Interested in esoteric and religious texts, this comes across loud and clear in his stunning, ethereal E.P Andromeda, which at turns send shivers down your spine and expands your mind.Having released on the likes of Giallo Disco and Charlois, this is Alessandro's first release on Slow Motion. These ecclesiastical synth workouts are sure to inspire clubbers and thinkers alike. Solid.

Plexus Records & Meyso present M.A.J.. This is the first full length effort by French producer Meyso, after a bunch of projects and collaborations including productions for Lomepal, Fixpen Sill, Equipto, Sameer Ahmad and more!
Meyso first appeared on Plexus Records cassette project from 2013, then on the Kapla album on the same label with Mr Hone, Maodea and Oteest. He's been since producing for several French and Belgian rappers and started to be the DJ on tour
for famous French rapper Lomepal. On M.A.J., Meyso confirms his skills and delivers a very rich and dense album.
Influenced at first by producers such as Dilla, Madlib and Dj Shadow, he develops now his own modern approach of beatmaking, incorporating elements of trap and electronic music. With guests such as Caballero, JeanJass, Veerus or Ndobo Emma, the album balances between deep instrumentals made of rare vinyl samples and some catchy rap and soulful tracks.
This LP comes in a limited edition of 500 copies, all hand-numbered and pressed on
180gr, 12''x12'' insert included. Original art is a painting made by Natosito.

Much could be said about German house royalty Boris Dlugosch. From his teen DJ years under the wings of Front's legendary Klaus Stockhausen in Hamburg to his own marvelous tenure there that is pretty much synonymous with the explosion of Acid House in its proto- and post-incarnations. One could examine his role as a herald of US garage and Jersey house or as a remixer of underground gone pop records. But we will leave that and other stories for the Front page soon. The 'Traveller EP' is the result of Dlugosch and Cassara meeting at a mutual friend of theirs, getting excited about their shared love for classic synths (see Sh-101 for the Traveller bass line) and exploiting the latter's extensive synth collection. What you get: classic disco, French house, electro-funk, DJ sound effects (that tractor plowed the Front EVERY night) and most of all fun, fun and a little bit of extra fun. Chin-stroking impossible....

'Next up on Aus Music is the return of label boss Will Saul working alongside long term label favourite Komon. Together the duo line up 'Harmonise' - a smouldering single that comes backed up with an almighty pair of remixes from Osgut Ton mainstay Nick Höppner and analogue aficionados Juju & Jordash. The title track kicks things off with glowing, interweaved synths and a pattering tom line. Vocal snippets and trippy delays suffuse a purposeful bass tone before the 101 Dub Version rolls out with punchy drums and a sharp, darting acid line. Berghain regular Nick Höppner then does what he does best with his remix in building a rich, hypnotic groove that steadily develops with intricacy and depth. Dekmantel and Golf Channel regulars Juju & Jordash then drive a warped, rumbling synth line through spacey atmospherics rounding off another fine addition to the catalogue'.

Vincenzo needs little introduction - the veteran producer and DJ has been a fixture on the scene for years, releasing his distinctive brand of classy deep and techy house on a number of key labels. Returning to Poker Flat, he teams up with the mega talented Cari Golden for this killer three track EP. Cari hails from LA, an accomplished singer & songwriter and a part of band Narcotourist. She lends her skills to 'Never Go Back' a lush yet edgy deep bomb built around slinky groove shot through with Vincenzo's trademark drama and tension. Cari brings the track to the next level with her vocals - both seductive and cautionary. Smash TV (Holger Zilske and Kai Preussner) bring a sick remix to the table with their version - heading to deeper territory and seemingly primed for the after hours vibe. Next up is 'That's The Way' - an instrumental that sees Vincenzo revel in some old school chord progressions and tension / release dynamics to make a sure-fire floor weapon.

Brendon Moeller has essentially spent almost everyday of his life since 1994 in a home recording studio. Through research and practice he has evolved into a prolific producer with 10 full length albums under his belt and dozens of singles and remixes. He has performed live and DJ'ed at Fabric, Berghain and Cielo and then some. His love of a hybrid of hardware and digital resources for production shines through. His music has been championed by the likes of Francois K, Speedy J, Danny Howells, amongst others. An eclectic sensibility stemming from a love of many genres of music is always evident in Brendon's work. - - - SSX represents the Silent Season 10 Year Anniversary Compilation, a series of 12"s celebrating a decade of deeper electronic music. The series features artists whose music continues to inspire the Silent Season journey.

Aficionado enjoyed a storming start to 2017, serving up a pair of sell out EPs from either end of the Balearic shoreline - now they're back with one more for Good Measure.
Teaming up with the Mancunian fashion house for a second season, this sonic selection pack is softer than velvet, smoother than silk and more durable than Moonboots' P.E. kit.
Pour yourself a spritz, slip into something stylish and bask in the brilliance of 'Good MeasurePt.2' Bird song blends into synth swell as 'Ottimismo' shakes our hand, pulling back a deckchair and inviting us to relax and recline with its simmering percussion, swaying bassline and delicate fretwork.
London's Simon Peter is the man behind the music, following a gorgeous 12" on Claremont 56 with another sun kissed soother perfect for a coastal drive, morning swim or lazy siesta.
We take a small step towards the fiesta on the A2, rolling our shoulders and nodding our heads to the infectious rhythms of Simon Cotter's 'Pianta Road'.Though the claves, woodblocks and guiro may dart like dragonflies over a midsummer drum pattern, the Australian conjures a calming breeze via Casiotone keys, spheric bass and sublime strings.
If that weren't enough to make your ice cube melt, the exquisite cascade of well-tinkled ivories could bring a tear to a glass eye and a smile to a cliff-face.The sultry sounds continue on the B1 as France's Murena charters a yacht from Saint Tropez to Es Canar, cutting through the dazzling azure with 'Un Prueba De Amor'. DX7 chimes and digital pan pipes glisten in the spray while a lilting groove rises from the deep, picking up snatches of distant conversations and the rise of tidal sine waves as it goes.
Drifting, dreamy and more debonair than Boardman's cravat, this is as Balearic as it gets. From here we go sublime, waltzing beyond the sunset to the baroque soul of B&B's 'Read Me'.
Waves crash and strings screech, a roaring storm kept at bay by warm double bass, pizzicato melody and spirit lifting poetry. Hints of hip hop and dub colour the immersive groove, while those neo-classical flourishes favour the cinematic diversions of PCO or Monsieur Tellier. Officially Aficionado.

(2x 180 gr LP in a gatefold sleeve with download card) The debut album of Talamanca System, aka Gerd Janson + Mark Barrott + Philipp Lauer. Their past is your future!

On the white island, between Ibiza Town and the infamous fish shack high up on a rock next to a bird sanctuary, you will find the beach of Talamanca. Plagued by too much seaweed, anchored middle-class yachts and joggers, it is also surprisingly the spiritual home of a correspondent post-Balearic group. As luck would have it, a remix request by Mark Barrott bedded the International Feel boss in a trio with Philipp Lauer and Gerd Janson, alias Tuff City Kids. A highly sought-after 12-inch later ("Balanzat"), as well as fantasies of getting together to work on more material, led to a fruitful and effortless studio session on the non-Balearic outskirts of Frankfurt am Main.

The outcome of that meeting forms the homonymous debut album of Talamanca System. A documented vision, or a sunburned imagination of a day and night spent on said island, during a moment in time that probably never was or will be. Still summed up best by dungarees, long hair, yellow sunglasses, espadrilles or that famous picture of people grouped around roofless Amnesia's pyramid well, it is the food of the Balearic gods. But, dear nostalgia, stop right here! Even though Talamanca's debut flies the Balearic flag, it is not about turning back the clock, but rather about a past that could be the future. Dusted, danceable, driving, dreamy and dapper at the same time, this is an album for the club, the car, the beach, the (coke)float and the fountain.

Coined by the colourful and respective talents of the three individuals behind Talamanca, you will hear nine tracks ranging from up to downtempo, piano house smashers that would have deserved the prefix Italo-, percussion rituals captured by a group of Zoo animals on the loose, soundtracks for dusk and dawn, hushed vocals, rites of ambient passages, powerful synth ballads and vamp choirs. If this album were a car, it would be a Citroen 2CV remade by Tesla.

We've said it before and we'll say it again: their past is your future!

give me wings to cope with that corrupted future to let my church burn down

truly yours Janice

Coloured Vinyl
Iona Fortune is a composer and producer from Glasgow and presents the 'Tao of I' album as her debut release.
Inspired by Eastern Philosophy and slated to be the first in an 8 album series exploring all the symbols of the I Ching, her music is influenced by oriental sounds and features a palette of instruments that includes the Guzheng, Gamelan and Synthi AKS.
The overall effect is a singular and beguiling sound that loosely fits in with the Fourth World concept imagined by Jon Hassell, and indeed Iona Fortune has also contributed a track to Optimo Music's new Fourth World compilation 'Miracle Steps'.
The initial vinyl edition will come on a translucide pressing with inside sleeve and original artwork by Iona Fortune.

Pisetzky's full debut album on Just This includes adventures into contemporary Techno music, fines ambient works, and unique broken pieces. An intense mixture of incredible warmth, weird fluffiness, mystic trumpets and high uplifts, the album is interspersed with short ambient and fragmentated interludes, each just a few minutes long: 'State of consciousness' and 'Tears of a rough machine' are serene and reflective tracks that give the listener time to breathe and bringing him/her back to more dancefloor focused tracks of the LP like Viridis, Bakwas and Wand. The result is a magic story, a history in eleven chapters that the listener is guided through, like the landscapes of a mystic journey, with a twist on the melodies and hidden effects behind every deep bass sound.

Critical Music reaches its 100th release in its 15th year, celebrating with the landmark album Fifteen Years Of Underground Sonics. Spanning the broad spectrum of drum & bass that the Critical sound represents, the exceptional 15 album is as bold as it is beautiful and looks to serve the test of time in the D&B history books.

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Kasra Critical

Irish label Fatty Fatty spreads its wings with their 'International Disco Mafia' EP.
Extending from Dublin out to Drogheda and Galway and onward overseas, the EP provides something peak-time for all tastes.

The lead off track sees label top dog Pablo going off on a solo tip, delivering an end of nighter take on an eternal UK street Soul classic. Chopping together many different mixes to create an epic whole, this one has been road-tested thoroughly, and always brings the house down.

While Pablo was fiddling around endlessly with that one, usual production partner Shoey slithered off with newcomer Kellser to produce a dreamy, stretched out take on a late 70's staple , another guaranteed winner, and possibly the most bliss inducing song ever to run at 130BPM

The international part of the EP comes from Italian edit king Belabouche, who delivers a lovely take on 'Willie and The Hand Jive'.
Last but not least, Galway boy Island Time makes his bow with a straight up, brassy slice of soulful Disco aimed straight at the dancefloor...

German producer Christian Burkhardt teams up with fellow countrymen Chris Wood & Meat for a three-track release on Jamie Jones' Hottrax this May.
Burkhardt has been flying the flag for minimalist electronic music for a decade now, releasing on labels such as Cocoon, Oslo and Pressure Traxx. Likewise, Freebase Records founders Meat + Chris Wood have been purveying deep and minimal cuts individually since the '00s, joining forces in 2009 before releasing on labels like Desolat, Housewax and Tiefschwarz' Souvenir. Between the three of them they've continually garnered support from the upper echelons of House and Techno, making regular appearances in the sets of names like Ricardo Villalobos, Sven Väth, Seth Troxler and Jamie Jones.
Intricate percussion and a compelling bassline make up the foundation of 'Closer 2 U' as an echoing vocal and tense strings operate throughout. Meanwhile, 'Plain' is a more downtempo cut in comparison with its dusky atmospherics and distorted spoken word samples that subtly permeate throughout the mix. On the flip, 'Trumpad' is deep and dubby whilst integrating trippy synths and mesmerizing effects for a rhythmic conclusion.

Planet Mu are very excited to announce Jlin's long awaited second album Black Origami'. A percussion-led tour de force, it's a creation that seals her reputation as a unique producer with an exceptional ability to make riveting rhythmic music. Black Origami' is driven by a deep creative thirst which she describes as this driving feeling that I wanted to do something different, something that challenged me to my core. Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I'm replacing paper with sound. I chose to title the album "Black Origami" because like "Dark Energy" I still create from the beauty of darkness and blackness. The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity.' Spirituality and movement are both at the core of Black Origami', inspired largely by her ongoing collaborations with Indian dancer/movement artist Avril Stormy Unger whom she met and collaborated with at her debut performance for the Unsound festival - 'There is a fine line between me entertaining a person and my spirituality. Avril, who collaborates with me by means of dance, feels the exact same way. Movement played a great role in Black Origami. The track "Carbon 7" is very inspired by the way Avril moves and dances. Our rhythms are so in sync at times it kind of scares us. When there is something I can't quite figure out when it comes to my production, it's like she senses it. Her response to me is always "You'll figure it out". Once I figure it out it's like time and space no longer exist.' Similar time shifting/folding/disrupting effects can be heard throughout the record - especially on Holy Child' an unlikely collaboration with minimalist legend William Basinski. She also collaborates again with Holly Herndon on 1%', while Halcyon Veil producer Fawkes' voice is on Calcination and Cape Town rapper Dope Saint Jude provides vocals for Never Created, Never Destroyed . Jlin will be touring extensively this year and is currently lining up appearances including Sonar festival. Later this year she will be collaborating in London with acclaimed UK choreographer Wayne McGregor who played her music recently on Radio 4's Desert Island Discs and described her music as quite rare and so exciting".

ANN LEE - 2 Times (Remix)
THE SOURCE feat. CANDI STATON - You Got The Love
MIKE NERO - Real Bass / Give It All
MONZA UNITED - Makes U Yeah
LORNA - Papi Chulo...

Never before reissued, this legendary 1968 EMI recording is a revered Indian jazz rarity, a collectors' holy grail. Raga Jazz Style is an original Indian excursion into Indo-jazz fusion. A one-away recording from the almost unknown Bombay jazz scene, it is among the few jazz LPs to hail from the subcontinent.Closely contemporary with the UK-based explorations of Amancio D'Silva, John Mayer and Joe Harriott, Raga Jazz Style takes the melodic, scale-based raga system of Indian classical music and marries it with a swinging jazz rhythm section assembled by Bollywood's most highly acclaimed musical directors, the soundtrack composing duo Shankar Singh and Jaikishan Panchal.Singh and Panchal were a dominant force in Hindi film music from the late 1940s onwards. Shankar had been trained in classical tabla, while Jaikishan was an expert harmonium player. They worked together on well over a hundred films, and their innovative compositions and orchestral scoring revolutionised the music of the nascent Bollywood industry. Central to their sound was regular collaborator Sebastian D'Souza. From 1952 onwards, D'Souza would work on every Shankar Jaikishan soundtrack, eventually becoming Bollywood's most coveted musical arranger.
Originally from Goa, D'Souza had cut his teeth in the dance-band era, arranging and playing with his uncle's jazz bands in Lahore and Quetta. After Partition, he had moved to Bombay to follow the reliable work provided by the film industry, where Goan musicians had become the mainstay of Bollywood's film studio orchestras. Goans were also the core of Bombay's thriving dance-hall and hotel-based jazz scene, with artists including saxophonist Braz Gonsalves, guitarist Amancio D'Silva and trumpeter Chic Chocolate all working in the city during the post-war years.
The team assembled for Raga Jazz Style were drawn from this inventive and forward-thinking milieu. Pianist Lucilla Pacheco, saxophonist Manohari Singh and guitarist Anibal Castro were all fixtures on the Bombay jazz circuit, while drummer Leslie Godinho is reputed to have taught Joe Morello the 5/4 'Take Five' beat when they jammed together during Dave Brubeck's State Department tour of India. To this jazz backbone was added the sitar of Ustad Rais Khan, scion of long line of classical instrumentalists, and nephew of the renowned sitarist Ustad Vilayat Khan. Bombay's jazz modernists had been experimenting with the fusion of ragas and jazz since the 1950s, long before American or British jazz musicians had tuned in to Indian classical music. But very little of this exciting scene was ever captured on record. Raga Jazz Style offers a rare chance to hear the innovative sounds of the Indian jazz scene, as peerless composers Shankar Jaikishan and arranging supremo D'Souza join with veteran Bombay jazzers to explore classical themes in a jazz setting — eleven ragas to a swinging beat!This is a highly impressive inaugural salvo by Outernational Sounds, using original masters and beautifully rendered facsimile artwork, with 180g vinyl pressed at Pallas, in Germany.

This release is gifted by a special remix from someone who need no introductions today : Chris carrier aka Mr Georget delivers a dope remix of one of the track that Franck already released on Home Invasion called Yabba.. The idea was to give to our favourite remixers (cause we got some good guys coming up aswell) the freedom to choose one of the tracks that they really like from the label.Mr Georget gave us a deep and hypnotic feeling on this one and we already love it it here; that's why we choosed to press it has a 45 rpm full side to give him the best sound and dynamics. On the other side Franck give us 809, a track wich is the result of the sync between the 909 and the 808 together when it comes to speak about drum and some synths delighted by his own secret.
Bugz is a simple ruff track coming out from the MPC wich we can ear from the drums, and some stabs samples coming thru his Vermona filter and passing by some external effects.. in and out its all about the jam here J We hope you will enjoy this new Ep has the summer starts soon guys...
Of course no share has we do vinyl only.

One of the core members of the Apollonia family is the mastermind behind the label's latest release. Shonky steps up with his first solo EP since 'Plombiére' which dropped in July 2016. Full of funky flavours and that distinct 'Shonky style', the new EP consists of four brand new tracks produced exclusively for Apollonia. Each track emanates its own unique vibe, while reppin' Shonk's irresistible groove. On side A we have 'Tyrolien', a jaunty number with bright tones and a tight, rolling groove. Shonky injects it with a series of unusual FX and what sounds like an wizened old creature, speaking about 'the foulest stench in the air'. It's a superb combination and sets the EP off to a great start.Next up is 'Beat Street' which has a heavier set of beats, which stomp down as a marauding b-line gets to work. Tiny fizzes and cheeps in the background add depth, sounding like robotic birds at play in the wild. The track is minimal in its make up, but deep and engrossing, classic Shonky material.Flip the vinyl over and we have 'Torro Rosso', a bold, stomping workout with fresh percussion and a jovial analogue riff. As the bubbly low end percolates way down below, the beats pump the track along and an extra layer of analogue funk enters the fray midway through. The final track is titled 'Serpent a` Sonnette' and swithes the vibe. It's loose, meandering and twisted, with a hypnotic bassline and super sharp percussion. This one is going to get the dance floor locked into a groove, as it progresses a sweet, chirpy melody brightens the mood. Feel the glow!Once again Shonky demonstrates his ability to produce groovy dance floor cuts that have their own unique fingerprint; danceable, unusual and utterly captivating. Grab the new EP now!

Drum roll, people! SL009 is on its way. The recipe has not changed: limited quantity, hand numbered / stamped records and superior music. We take you on a unique house journey to explore the texture of sound and the color of feelings, from raw to deep all the way down to acid, carried on our VA format spaceship. Onboard, four artists, Yusuke and Jimini part of 'Serie Limitée' crew and two new comers Panthera Krause and mOnster Heart Driver who are joining the family.

One of the founding fathers of Chicago house, himself a grandson to a DJ and frequently alongside other greats such as Ron Hardy on the decks, Gene Hunt summons a 3-tracker for the Midnight Shift label. True house and techno direct from the source and in his own words, a rather 'jungly' take of it due to the tracks' chaotic percussion. 'Feeling It' takes you back to the original old school, with all the classic elements in place, it's a house lover's wet dream, 30 years after the fact. 'Spector' twists things up while keeping that pumping jacking groove a perfect intersection between then and now. 'Scatter' punches through the noise like a clarion call to arms - where are all our jacks and jackies at Report to the dancefloor, please.

Coming off of EP releases on Dynamic Reflection and 100% Pure, Uun returns to his label Ego Death for it's third release, and it's first on vinyl. The title track references Carl Sagan's classic work of skepticism Demon Haunted World. It features a percussive attack that builds into a swirling tornado of distorted synths and hihats. The Scarlet Martyr takes a different approach that is heavy on pads and atmospheric elements all over a bed of field recordings. The B side starts with NX1's remix of the title track. This interpretation chops up the synth and percussive elements into a broken beat onslaught that builds into the track being deconstructed piece by piece. The final track Dominions continues in the broken beat direction with a more straightforward dancefloor approach. "It is far better to grasp the universe as it really is than to persist in delusion, however satisfying and reassuring." -Carl Sagan

The fifth record on NEW YORK TRAX is by Løt.te, the Turkish-born, Brooklyn-based DJ, producer and designer affiliated with The Bunker New York by virtue of two well-received vinyl releases. This politically charged EP titled 'State of Exception' is Løt.te's personal reflection on the current social and political climate in Turkey. With rhythmic synths brought to the foreground, Løt.te committed a masterpiece that only a skilled and thoughtful artist like himself can. The opening 'Ultra Vires' is a relentless synth-driven warehouse track mercilessly rolling at the speed of 140BPM. The deeper Ausnahmezustand follows; it is a reflective and rhythmical piece perfect for both home listening and the dance floor. 15.07.2016 opens the B side with its tense yet playful atmosphere and numerous constantly evolving layers of sound. Finally, Graft is a shockingly intense introspective piece. Crafted with Japanese taiko drums and digital synthesizers pushed to their limits, it is a lesson in perfect sound design.

For ANA004 we proudly present one of our favorite producers, Dimi Angelis.
Killer three track EP characterized by Angelis' distinctive & unique style, with the addition of heavy acid elements. A must have.

Berlin's own Marco Haas aka T.RAUMSCHMIERE made an irreparable impression globally in the 00's as a sawtoothed, ANTI-rave radical thanks to his immense stage antics and larger-than-life releases on Novamute. Since then, Haas has established himself as a contemporary with emotive, dark ambient tales on his own imprints Shitkatapult/Albumlabel.
KOMPAKT's love affair with Haas goes back to our earliest days. Some of his first tracks were released on KOMPAKT in the form of two raw EP's entitled "Bolzplatz" (KOM021 - 2000) and "Musick" (KOM037 2001). These two formative releases elevated the "Schaffel" sound to raw and shameless places we never could have imagined. The results set a tidal wave in motion that to this day remains one of KOMPAKT's most infamous legacies.
In an off-chance reunion with Haas in his studio, we learnt about what he'd been doing since the "Monstertruckdriver" days. It turned out he's been ever so busy outside of the mainstream working with the likes of Dieter Meier of Yello, Caspar Brötzmann, Andreas Dorau, Fraktus, Ofrin or Barbara Morgenstern and his recent work with Ulli Bomans aka Schieres under the SHRUBBN!! monicker.

On the way out, he passed over his 2015 self-titled album - which proceeded to blow our minds. It was mutually decided that it's time for him to return home.
May 19, 2017, will see KOMPAKT releasing T.RAUMSCHMIERE's new, epic solo full-length HEIMAT. It presents another side of his work which was always there, but never got that much airtime: the artist, the author, the composer with the crystal-clear sound. HEIMAT is a stunning techno album that neither excludes Ambient, nor gets reduced to constant ass kicking. It's perhaps the best recording so far from this man who asks so deeply, so extensively, so much. And at some point even answers.

Some try it with mouth-to-mouth insufflation and cardiac massage. Others with
psychopharmaceuticals or group therapy. Still others with divorce. By going cold turkey. With a new profile pic and a matching hairstyle. Seen it all at Robert Johnson, already endorsed everything - at least as long as it helps: as a lifesaving measure.
But since the year dot, the Offenbach-based club with its affiliated label recommends to all which are undecided or have doubts particularly one thing: Music. And dance.
Every two years, when life newly blossoms during spring, Live At Robert Johnson opens its windows widely, lets new music out and fresh air into the house. The beguiling scent of nature and aviation fuel blends with the scent of sweat and dry ice fog - and causes sundry healing confusion. As soon as the first tone of the Lifesaver Compilation 3 is heard, the swelling grunt of Vincent Feit's 'X04', the scenery of the dancefloor right at the Main river appears before one's eyes.
On Saint Monday Iconoclasts rebel against the age of self-optimization. A crack goes through the parquet of the dance floor (or the dancing party itself). The post-unambiguities era is beginning. The images become blurred. Bass case. Alternative facts. Resonance hole. No reception. And then it's only the queue answering the club emergency hotline. Finally there is a buzz on the line. 'Just drop the images!', it says.

'It's all not that tragic.' This helps.
The Lifesaver 3 Compilation, the yet most comprehensive package of the lifesaver history, sounds like electro, sharp-edged like the vault in a Hague bunker (Lauer), provides data pop with piano crescendo (Fort Romeau), brings the style characteristics of German Schlager music to the breakdance mat (Rolande Garros), lets the bulky lily-of-the-valley bells clang and sends the reverb tails away with the wind (Benedikt Frey). There are several new names to discover: Felix Strahd, Benjamin Milz, Vincent Feit; and of course there a many old acquaintances: Massimiliano Pagliara, Orson Wells, TCB, Chinaski. Roman Flügel brings us 'Good News', however: 'From Another Planet.' And Fort Romeau feels 'Lost, Again', but in such somnambulistically beautiful manner that you want to get lost with him instantly and jointly find the great joy.
Again and again there are mysterious chants. It's not required to decipher the specific words in order to get the message: Salvation is near. Salvation is here:









[)] e1 | Roman Fügel - Chang

Australian SUPER GROUP GlamouRatz` first full EP comes exclusively via Public Possession Promotions. Including cheeeky "Misogyny" remix by Andras Fox. Hung Up On Tee Vee Come Cross Dress For Me. Correctly Dressed. Looking Your Best. XXX - RATED - XXX

After recently inaugurating the label with Shedbug's well-received Afterglow EP, Flux Records are back with their second release. Following suit, FLUX002 includes three original tracks from burgeoning French talent Laroze, supplied with a sweet remix from Detroit's one and only Andres.With its fair share of dance floor heaters the Loin Des Yeux EP exudes an effortless 90s revival feel to it, drawing upon classic US house and acid as the basis for its form and style. Limited press on 180g, 12 vinyl (no digital), with artwork from Laura Zhang. France's dance scene is currently replete with a plethora of fresh and charismatic artists, labels, and promoters, and has all the signs of a movement that's really beginning to take off. Hailing from Bordeaux, Laroze's making his own mark not just as one of the figures behind the country's authority electronic music publication SeekSickSound, but also as a DJ and producer in his own right.

It is already possible to find works signed by Post Scriptum in discographies of well respected labels for quite a sometime. This undoubtedly confirms it's value. "Year Zero" is a first release on Post Scriptum's own label and in a sense it is a manifesto defining it's musical identity. No space here for a sound targeting the current techno mainstream. There is dirt, and the pinch of imperfections, very characteristic of avant-garde electronics and industrial well known for the quite nearby past.
On the A side, there are compositions appearing like shutters from experiments conducted in the secret laboratory.
The rhythm is giving the appropriate weight, while the rest is a musical conglomerate of sounds and synthesis building up a feeling of anxiety.A swarming energy, a modulation, an uncertainty and lurking somewhere danger are surrounding us.
On the flip side are remixes constituting the lighter counterpunch. Motor eurhythmics bringing to life the old good Detroit techno definitely of a dance-floor character, making this material ideal for an interesting set.

Solune real name Etienne Dauta hails from France, the son of a record store owner father and artist mother. He moved to Berlin 6 years ago and for the last 3 years
co-ran the Bass Cadet record store. Solune has just released one EP in his short career on the Bass Cadet imprint but is also is one half of the Arcarsenal duo who also released on the label.
The EP kicks off with the mighty 'The Vision', a majestic New York inspired atmospheric stomper combining both spiritual and techy vibes that you can imagine hearing
pumping out over the system at The Sound Factory or Shelter.
'Sacred Smoke' is a hazy, languid percussive workout that will
sound perfect early doors to build the tension.
B1 'Rhythm School' does what it says on the tin and is a warm, driving housey cut. We wouldn't make these comparisons lightly but this sounds like a long lost Ron and Chez track to these ears. Last up is the exotic and mystical 'Idiom Of Peace'.
'The Hierophant' EP is a stunning EP of different flavours and a
perfect addition to the Secretsundaze catalogue.

Thrice is nice for Dimitri the Brooklynite-By-Way-Of-Paris, who comes correct with his 3rd 3-packer of disco edit deelite for RNT! Filling up the A-side is KETTLE AMERICA, a cheeky bit of south-of-the border uptempo disco funk. I KNEAD YOU is a stomping and sermonizing version of a cherished classic, completely redone with a chorus of handclaps and gospel piano, and the record finishes with WITHOUT ROB for some re-touched dancefloor doo-wop gold!

La Freund Recordings presents a new EP from Amsterdam based producer and modular synth enthusiast Sjamsoedin. Three varied tracks and two heavy remixes by Simon Weiss (Rush Hour / Voyage Direct) and Claude (a.k.a. Fulgeance) form the new label's second release.Sjam Sjamsoedin has been around the electronic music scene for over fifteen years, releasing music under various aliases. Since 2011 Sjamsoedin has been experimenting with a deeper and warmer sound built around strong grooves, combined with his love for (modular) synths and effects. Orion is Sjamsoedin's first full length EP under his own name.While "The Drums" and "Pastel" find their inspiration in the Chicago house sound of the good old days, "Orion" has more of a lush electronica vibe to it. Both remixes add a heavier sound to complete the well rounded EP.

* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code

* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:

Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"

Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."

Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."

HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."

The idea for a reminiscence of b-boy culture stem from label owner Booga:

"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."

Re-issue of the seminal 'Dust On Common' LP, from Led Er Est (Sam De La osa, Shawn O'Sullivan and Owen Hutchinson) was originally released in 2009 by the seminal Brooklyn based record label Wierd Records.
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The band's first full-length release showed the three piece clearly breaking out of the minimal synth underground they have been a vitally integral part of since its inception in Brooklyn to create an undeniably contemporary set of highly crafted and restrained, icily psychedelic pop songs.

Synthesizing countless disparate musical influences from first wave British industrial music to house, disco, and the largely unknown cold wave (aka 'La Vague Froide') tradition in Northern Europe, the trax on Dust fly by, straight out of the frozen hot, lonely cold plains of vocalist Samuel Kklovenhoof's native central Texas. After digesting a few songs of this rich dust, the listener can do no other than lie down in the wild weird Laredo bunker to revel in the refreshingly brisk blast of hedonistic analogue pleasure dancing through the airwaves in the sky above...

Strut present the first official reissue of a landmark album in the field of African music, Mulatu Astatke's 'Mulatu Of Ethiopia' from 1972. Across three formats including a special 3LP version including unreleased bonus cuts and a special unreleased mono pressing of the album

Farron continues the course of Shaw Cuts with his 'Legend Of The Bat' EP, following in the footsteps of Chu Liu Hsiang: the journey to Bat Island.
The voyage begins with 'C.I.T.G', its relentless break-beat fundament combined with coarse synth lunacy to wipe out the first dark shapes - moonlit slaughter.
Joining forces with rivals, Chu Liu Hsiang is no longer alone as he advances on Bat Island. 'Semi-Final Thoughts' accompanies the newly-formed crew to the mysterious ground - a melody of warm synth and light churned by industrious oldschool drums. But who to trust
The fleeting harmony ends when several combatants unveil their guise and true motives. Loyalties revealed, massacre ensues. 'Unlimited Mind' pulsates, its bassline and sharp percussions decapitating those who dare to deceive.
'Derby' epitomizes the tension of the final showdown with low rolling tones, echoing chords and heavy percussion weaving the air like the rival in pursuit. With teamed forces and clever combat the traitor is annihilated from head to toe - bloodbath and game over...

Jigsawtooth is the third album from Hendrik Kroez's Miwon project.

Limited randomly packed red or white vinyl. Non-Returnable.

On this long-awaited follow up to is critically revered A to B (City Centre Offices) Kroez displays his skill in marrying motorik techno infused rhythms and soaring pop ambient melodies.

This is most evident on 'Charezza' which could very well be the most uplifting track in the n5MD cannon. Other cuts on Jigsawtooth utilize sweeping synth-work that encourage a near kraut/kosmische travel worthy flavor to the proceedings.

Other genre signposts are evident on Jigsawtooth but that's something that's always been a constant with Kroez's work as Miwon. In his hands such coalescence sounds cohesive, natural and is some much welcomed diversity to nought-era electronica.

180 gram classic vinyl

Until he was about 20, Texas-born Melvin Sparks was a rhythm & blues guitarist, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. But Sparks gave up his seat on The Upsetters' bus in New York City, where a chance introduction to George Benson led him to a place in soul jazz history. Melvin played and recorded with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington Jr., Reuben Wilson and so many more. Even during the quietest years of soul-jazz Melvin stayed relevant through hip-hop and r&b, a quick search at WhoSampled turns up more than 150 samples of his funky chicken scratch. And Melvin's legacy is heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he also guested with several times before his early departure from this realm in 2011.

This release documents Melvin's final band just months before his death. Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years, and, despite the power dynamic - they were in their early 30s, Melvin an elder-statesmen of the genre - the unit was sharp, relaxed and performed Melvin's music with a jovial spirit. The trio played the Burlington, VT club Nectar's regularly, but this night featured two "onlys." Per the recommendation of Nectar's agent they used the "Grippo Horns," the only time Sparks used a horn section in the last several years of his life, and they allowed a multitrack recording of the show. Both were strong decisions.

The tracks on this album, lovingly mixed by guitarist, producer and Melvin Sparks fan Eddie Roberts, demonstrate that Melvin played as well in the final months of his life as at any time. Sparks counts "Whip! Whop!" off at what he said The Upsetters called a "showtime tempo," and peppers it, as well as most of the album, with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He unfolds amiable melodies, patiently and methodically, through his several-minute lead on "Breezin'." And Sparks is audibly uplifted by the Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman" for the first time in decades.

This box contains all four solo albums by Bill Wyman, the first Rolling Stone to release a solo record. The first two (from 1974
and 1976, both issued on Rolling Stones Records) were made the help of a galaxy of musical friends like Lowell George, Dr John,
Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins.
- The eponymous third album was home to Bill's 1981 big hit single (Si Si) Je Suis Un Rock Star' as well as follow-up hits
Come Back Suzanne', A New Fashion' and Visions, while fourth album Stuff' appeared in 1992, originally in Japan only.
- The albums are now issued on vinyl for the first time since their original release (and 'Stuff' on vinyl for the first time ever),
gathered together in a beautiful rigid slipcase. The new inner sleeves feature all the lyrics and the musician credits.

Kitjen 006 is THE tropical cruise ship experience of the summer - brought to you by Amsterdam duo Beesmunt Soundsystem. Watch an umbrella appear in your glass as you play these 4 superbly crafted House cuts! Start sending automated out of office replies by simply scanning the cover with your mobile device! This record's official dress code is 'cannabis farmer at court hearing". Don't snooze!

After a 3 year hiatus from his Avatism moniker, Thomas Feriero, one half of CW/A and owner of Parachute records, returns with an EP for his home label Vakant. A rough yet refined release, unassuming in its effort, Thomas channels both his previous solo work and his CW/A project into a tightly wound package with 4 solid cuts. Various influences converge yet a straight line is etched for all to follow. These are up-front, hard working tracks. Body Music with an undercurrent of breakbeat. His first EP on Vakant since his album. File under need / want.

The debut seances from Crypt Rot drag the listener to depths of morbidity. For sick fiends of Deicide, Dismember, Death, and Dissection.

Southern Lord unleash a torrent of tumultuous filth, having signed Ohio-based CRYPT ROT - formed by several current/former members of Homewrecker — for the release of their Embryonic Devils debut in early 2017. The album's 'Chapters Of Torment' has been issued for early streaming, as the band announces new live dates, including a set at The Power Of The Riff.

Having written and recorded five original songs within a months' time, CRYPT ROT captured these terrorizing, filth-laden death anthems on their Embryonic Devils debut, with each track led by a death-aura segue. For the recording sessions, the band enlisted Bill Korecky at the Mars Compound (Integrity, Ringworm, Homewrecker); the collaboration with Korecky lead to a well-polished, high-gain sound that grasps elements of many genres and crushes its listeners with its ferocity. Upon completion, the album was passed along, ultimately leading to the signing with Southern Lord.

This Rough Guide features deeply cool cumbia influenced by 1960s Western rock and the hippy movement, spanning the spectrum of psychedelic cumbia from the 1960s pioneers to today's innovators. A classic selection ranging from the vintage Peruvian recordings to classic contemporary bands from Colombia, Chile, Mexico and beyond highlighting how cumbia was reborn in the 1960s to make it relevant to the younger generation.

Includes a FREE download card allowing you to download the full album

Peru has had its share of great electric guitarists bending strings to the rolling beats of cumbia - from Enrique Delgado to José Luis Carballo - who came from its own important domestic tradition of criollo guitar music as much as rock). So it's not an exaggeration to say cumbia peruana (and regional variants at times referred to as cumbia andina, cumbia selvática, and more recently chicha) has had the lion's share of Carlos Santana influences evident in the mix.

Interestingly the Peruvian psych sound so prevalent in the early 1970s had a profound effect on the originators of cumbia; hence we offer the two fine examples from 1970s Colombia that follow. We round out the mix with a gaggle of contemporary artists from Chile, Mexico, USA, Peru, Colombia, Argentina, and Germany, bringing the psychedelic tropical vibe up to date while still retaining the trippy trappings of yesteryear.

The ninth release on the DSR-C series comes from Rhine. A new name with his roots in atmospheric techno steps up for his first solo EP. 'De Storm' opens the account with a loose collage of textured drums and scuffed-up synths. It makes for a bubbly groove that journeys far off into the night while 'De Bron' is more rooted underground, with cavernous echo chambers run through by supple bass synths and icy hi hat trails. Spooky and haunting, its a track to send shivers down your spine. Last of all, 'Het Meer' is a watery affair, with aqueous drips and drops, radiant pads and then more tightly coiled drums brushing up against one another to make for something atmospheric but also nicely driven. All three tracks are characterised by a rather tender and reflective mood that makes them all the more unique.

Planet Rhythm usual Yan Cook teams up with fellow Ukranian artist ''Mays'' for a tough collaboration record named ''Old Friend EP''. On the opening-track 'Fixed' the tone is being set for this being an utter dancefloor effort with the extended use of FX and modulation. 'Old Friend' resumes in this fashion bringing a glitchy atmosphere of some kind together with matches chords and outlandish drum work. The B-side opens up with the futuristic tones of 'Coder' which is based around tough synth arpeggiators and ferocious kick drums. 'Tesla' continues down the road of futuristic Techno with it's strong and extended FX works and intrusive synthesizer sounds.

Blondie return with 11th studio album Pollinator lighting up 2017 with an incredible new record befitting one of the world's greatest bands. Produced live in the studio by John Congleton (St. Vincent, John Grant, War On Drugs, David Byrne). The last album recorded at New York's legendary Magic Shop studios before their closure. Blondie's classic writing duo of Chris Stein and Debbie Harry are at the heart of the creation with an impressive list of song writers on the project including Johnny Marr, TV On the Radio's Dave Sitek, Dev Hynes (Blood Orange, Lightspeed Champion) Adam Johnson aka An Unkindess, Sia and Charli XCX. Studio appearances from Joan Jett, Laurie Anderson and The Gregory Brothers.

Acknowledged of Red Pig Flower's obsession for the RED color, the 10th cat by Sound Of Vast could not be a different choice. Red Pig Flower, known not only as a musician but also as an artist, prepared a special concept for each track in the box.

Amine Edge & Dance have become well known for their releases on their own label CUFF. By bringing new sounds to this label, they are building a reputation for some huge anthems, and it looks like their latest has arrived under 'Bad Influence'.A hard hitting beat kicks the track off, while also flitting in with the vocals of SerGy which provide a real different edge to the track.
They have a soulful feeling to it, especially when the track begins to build and whenever it drops down. The vocal chops work well with the deep flowing bass line and hard hitting beat that Amine Edge & Dance have delivered. Bringing this all together with the drum samples and the various synth layers which work into the background of the track, it all seems to just provide a sense of groove, a sense of energy, a real deep underground driver.
Amine Edge & Dance deliver the goods with 'Bad Influence'.

DJ/Producer from Merseyside UK, John Heckle has produced records for Mathematics Recordings, Tabernacle Records, Crème Organization, Lunar Disko and more. His releases include two full length studio albums, The Second Son and Desolate Figures (as well as The Last Magic Maker mini-album), plus multiple singles, remixes and EPs. Life on Titan, his debut for Mathematics, picked up a Qwartz Electronic Music Award.

Are you ready to be where metaphysical borders with the dark Check the bag: water, food, flashlight, gloves, something else Go along with Mr. Cloudy in the outskirts, where every rustle to take into attention, where the barking of dogs like a beacon in the night. Sparkling from the frost luminous ice, or raw cold, with the smells of leaves and rain out all night. Mr. Cloudy - Outskirts on Skala Records, heavy ambient / drone, dub techno.

Hyboid ist zurück mit spacigem Electro-Pop der dritten Art: "UFOs over Berlin" erzählt die Geschichte von einer UFO-Invasion in unserer Hauptstadt. Das Mini-Album knüpft mit seinen 6 Stücken an Hyboid-Werke aus der Frühzeit des Astro Chicken Labels an. Analoge Klänge und sphärische Melodien und Pads lassen keinen Zweifel: Space is the place!

UNKR enslave dust-coated synthesizers, dilapidated drum machines and rusty FX boxes to craft 4/4 tunes for their impatient overlords. Their vision is clear - they will make techno, they will make house, they will make electronica, and you will listen and dance. It's not yet clear if BUNKR is the work of one frenzied human or many lazy individuals but we do know one thing - the ringleader is one James Dean, who previously released as Lost Idol on labels such as Pork Recordings, Nature, Final Frontier and Cookshop. Following a prolonged spell of writing music at slow tempos, Dean initiated BUNKR as a reactionary desire to speed things up. Too much time had been spent just sitting around - it was time to stop sitting and start dancing. True to their vision, here we have 'Cloud Chaser', a bubbling jam backed with a huge remix from Shan, who flips the mix with dramatic strings, sprinkles of magic dust and massive amen breaks. No less impressive is 'Juno's Revenge', a track you'd turn up on your headphones while taking a nice afternoon stroll on the moon, on a sunny morning after a long interplanetary rave. Igor Tipura delivers the rework, complete with a marching percussion workout and acid chemtrails that will send you right back to 1993.

Cologne's electronic music community keeps on giving, drawing on a dense plethora of fresh talent ready to shake up our little big grassroots industry. The latest ace up the city's sleeve must be Tim Engelhardt, part of a new breed of incredibly versatile young producers that get their cues from all sorts of genres and listening situations, combining profound musical knowledge with intuitive playfulness and multiple perspectives on sound. In Tim's case, we're dealing with a solid pianist background - which becomes rather obvious in the great care he takes over harmonies and an expanded melodic structure. However, that's just one side of the story, as the organic fluidity and atmospheric dexterity of his music most certainly hark back to an upbringing among the rolling hills and sprawling forests of Germany's Westerwald - one of the country's best known mountain ranges that has already inspired artists such as Dominik Eulberg or Gabriel Ananda. Having released your first recordings at the tender age of 14 - as Tim did in 2012 - might put you in a 'wunderkind' category - a flattering, but ultimately risky proposition, finding many a prodigy overwhelmed with the dubious honour. Not so much our hero, who chose to put his skills to work: in only four years, he grew his portfolio with plenty outings on labels such as Traum Schallplatten, WIR, Babiczstyle, Amuse Gueule, Ostwind Records, Popart Music, Playmusic Productions, Parquet Recordings, Manual Music and more - but his breakthrough release was hands-down the 2015 EP 'Everything Is All You Have' on Steve Bug's iconic Poker Flat imprint, followed by 'Enigmatism' on the same label.

* Atheos is a ferocious new collection from Rotkeller, which sees the Swiss electronic duo (Laurent Schmidhäusler and Federico Sutera) double-down on the brooding energy of their previous releases with a renewed intensity—fusing bold electronic experimentalism to dense, maximalist techno.

* Whether on the slow-burn immensity of opener 'SW', the monolithic, doom-laden expanses of 'Malz' or the spellbinding surge of '17. October', Atheos showcases a dark melodic complexity from the duo—in part brought on by the use of both digital and analog recording techniques.

* While the mesmeric, choral melancholia of EP closer 'Godless'—its eerie and beguiling textures echoing all that has preceded it—offers-up ominously open-ended ending; solidifying Atheos as Rotkeller's most atmospheric and cohesive work to-date.

* As if that wasn't enough, EOMAC (Stroboscopic Artefacts, Killekill, Trilogy Tapes, Bedouin) caps Atheos off in style, with a savage edit of '17. October'. The remix that pushing Rotkeller's original track into new rhythmical directions—the glassy rhythms splintering like shards of light across an eternally eclipsed landscape.

Set for release in both physical and digital formats on May 5th, Atheos marks Rotkeller's first EP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

LP reissue. Pressed on 180gm black vinyl. Boney M's 1977 second album, Love for Sale, which contained the hits "Ma Baker" and "Belfast"

LP reissue. Pressed on 180gm black vinyl. Boney M's 1978 third LP, which contained the hits "Rasputin", "Rivers of Babylon" and "Brown Girl in the Ring"

"Daito" The Temple
Sub filtered kick delays deliver heart pounding bass, followed by spacious overhead sounds of nature, leaving the tubular synthesis builds up the tension. Featuring a melodic buildup, to get any dance floor calm, quickly to be filled with warm sub bass & soft percussion, ending with a clean mixable outro.

"Balas" Molecules (J. Manuel Destruction Mix)
A mechanically arranged techno slammer, with creatively delayed sci-fi elements, pounding broken beats & subtle, clean percussion, all coming together to dominate any dance-floor!
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.

"Projekt Gestalten" The Fight, The Victory, The Death
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.

"Cristian Marras" Project to Escape
Hypnotic but also energetic, this is peak time techno!
The first hook gets your attention as the overdrive percussion builds you up to the breakdown. As the frequencies slowly change, the buildup arises, building up the energy levels ahead of the discreet drop, filled with high frequencies to put you into a state of trance.

Current Value stands as one of the producers at the very forefront of experimentation - a creator truly reaching the top of his game and one who has walked an unmistakable path across the Drum and Bass landscape.

Consistently delivering a style so unique that it sets him far ahead of the pack, his unique aesthetic is evident in both his unmatched experimentations in synthesis and his trademark finely crafted percussion, combined to deliver a heavy but stripped down modern sound that carries serious weight.

May 5th brings CV's unique sound to Doc Scott's 31 Recordings with the Scalar EP.

Also look out for the CVAV project a 60 minute audio visual showcase of Current Value's work that sets a new bar in electronic music with a mind-shattering sensory experience that changes the context of one of the most unique artists of our time.

Tvir is a vinyl only label based in Ukraine. Translated from Ukrainian Tvir means composition. Strong limited!

Hell Yeah is proud to present a new EP from an artist that has been on their radar for a while. That artist is Napoli's Quiroga aka Walter Del Vecchio, the Italian DJ and producer who also runs his own Really Swing label and has been given props by the in the know Test Pressing blog, as well as having all his tunes dropped by
Balearic Gabba Sound System at every opportunity.

One of the finest talents to come from Italy in recent times, Quiroga cooks up hypnotic and trance including sounds from a myriad of diverse influences from opiate jazz to shuffling funk beats, from shifty landscapes to library music.

First up is Viaggio a Tulum, a perfectly loose and jumbled mix of sunny vibes, feel good chords and clipped vocals full of soul. The sort of thing that has you day dreaming of lazy afternoons and drunken BBQs, it's perfect example of Quiroga's efforts style.
Non Dire Notte—featuring Acido and ReallySwing act 291Out members Luca "Presence" Carini on electric bass and Vincenzo "Warren" Ciorra on electric guitar—is even more lazy and elongated, horizontal and blissed out. Twanging guitars off set pixelated synths, squelchy chords and Afro signifiers bring the heat and overall you cannot fail to get lost in the groove.

Prati Bagnati is a serene ambient interlude that feels like laying on your back and looking into a deep blue sky and second ambient cut Bava is more textured and intense, with shifting drones and muffled voices bringing a sense of filmic unease to the table. Overall, this is a perfect window into Quiroga's most intoxicating musical world.

Support by Alexis Le Tan, Aficionado Djs, Coyote, Ibiza Sonica, Reza Athar, Gonno, Noema, Fabrizio Mammarella, Riccio, Bill Brewster, Private Agenda, Soft rocks, Tim Love Lee...

t's the utmost honor for Sonar Kollektiv to be in the position to introduce 'Ankhor', the brand new album by Liz Aku. Having recorded all sorts of music with different outfits as well as solo projects over the last fifteen years the Belgian soul singer and highly gifted songwriter definitely earned her stripes and is anything but a newcomer to this game. She seems to have found her own, distinctive voice, after traveling to New Zealand and a far-reaching encounter with Mara TK from Electric Wire Hustle. With 'Ankhor' (a combination of the Egyptian symbol for eternal life 'Ankh' and 'anchor') Aku accomplished a masterpiece of Nu Soul, Jazz and Pop, which will make her join the upper league of the players on the scene. For this cause, several allies and efriended producers have helped her out. With Mara TK leading the way obviously, who co-produced three out of the album's twelve songs. On 'Breathing Underwater' and the sublime, for the whole album groove defining opening song 'The Drum Major Instinct' the native New Zealander duets with Aku

French producer and DJ John Jastszebski has been involved in the French and global underground
House and Techno scene for over a decade now, releasing on imprints such as D'julz' Bass
Culture, Phil Weeks' Robsoul, Syncrophone Recordings and of course Phonogramme where he returns to here.
The original mix of lead track 'Season' takes the lead via infectious stab sequences, snaking subs
and raw organic percussion before Kai Alce's 'Restructure' of 'Season' follows and tips the focus
over to airy chords, jazz-tinged lead melodies and a bumpy rhythmic swing. 'Illusion' follows and sees Jastszebski focus on a more stripped-back aesthetic with rolling drums,
dusty string samples and warm Rhodes driving the composition. 'Gracelend' then closes the package with smooth, unfolding pad melodies, crunch drum sounds and a murky, hypnotic feel.

Having come up with an annual-ish drop of 12's since 2010, Even Brenden AKA Chmmr set aside the spring of 2016 to challenge himself to a new format: a full-length album. A true nostalgic, he uses Compass Point-era and early Italo sounds for inspiration and attempts to simulate these styles. This makes for a melodic, chuggy and graphic album that belongs a little more in the living room than on the dance floor. With 10 tracks of dusty rhythms and the honest, naive and spacious themes that is Brenden's signature, it's a record designed to signal that today's technological future may not be as different as yesterday's. Features a nice-looking cover painting drawn by the late Harold Cohen's AARON program - automation at its finest. Hidden behind his Chmmr moniker is Even Brenden, whose summery debut found its way into the world via Norwegian psych-disco label Luna Flicks in 2010. The record became somewhat of a soughtafter item and after making pit stops at Relish, Dødpop and Untz Untz Records, he landed on Prins Thomas' Full Pupp in 2014 and have stayed put ever since, all the while enjoying a steady habit of record jocking and the occasional keyboard duty in Telephones' now-defunct live band. Even resides in Oslo makes odd waves without vowels.

The Band > SCARLETT'S FALL is a duo formed in 2014 by Ruth Childs (British-American performance artist and singer based in Geneva) and Stephane Vecchione (Swiss performance artist and musician based in Lausanne). They define themselves as dirty-girlie-kitchen-pop mixing catchy melodies and repetitive looping with fragile vocals and provocative texts. Out of their playfully ironic and poetic universe you can ear shades of CAN, Broadcast and Young Marble Giants. SCARLETT'S FALL toured their first album all over Switzerland and supported Tricky, Peaches and Anika.SCARLETT'S SCARED' is SCARLETT'S FALL ironically seductive second album. It all started with an (blue) demonstration vinyl entitled 'The Incredible Sounds of the Synclavier II' released by New England Digital Corp in 1981 to promote the first digital sampling system. Its content gave the basic atmosphere for the whole album: each of the 10 tracks samples a specific Synclavier sound. Add haunting melodies, mysterious vocals and fun beats and you get 'SCARLETT'S SCARED' complete. As the title suggests 'SCARLETT'S SCARED' is about being scared and takes its roots from vintage movies such as Klute (1971) and Metti Una Sera a Cena (1969) that deals with phone stalkers, insomnia, sexual tension, vampires, ghosts and explosive watermelon attack!

Fresh off the back of his debut as Cucumb45, Bjarki presents another outstanding release. 'Slysó EP5 Cyclops í poka' is a 5-track, vinyl only EP on bbbbbb records, the label he runs alongside Johnny Chrome Silver.
Whilst the recent 'Something Weirdcore' challenged our understanding of genre, the latest release takes things further, playing with our perception of acousticspace.
Immersive textures are introduced without warning, just as quickly as they are withdrawn, never to be heard again. From the nostalgic harmonies of 'Cyxlobblobs5' to the unnerving glitches of the title track, high velocity drums of 'Aqua Elba' and mangled juke patterns of 'CATpitchd5', the EP darts its way through a range of new territories without hesitation.
Never one to conform, Cucumb45 rejects familiar structures, rapidly jumping between ideas whilst manipulating the physical properties of his sound.

The fifth Modern Cathedrals release by Altstadt Echo seeks to exhume genuine, complex, and often contradictory human emotion from dead samples and broken beat structures. Throughout the 1905 EP, the artist crafts melodies that embody a tension between nostalgia and frustration, supported by carefully textured and relatively functional percussion. The remix of 'Dry Despair' by Abdulla Rashim (AR) strips the original of its lofty chords, instead pursuing a focused and bone-dry experimental techno approach. In contrast, the remix by Stave combines elements of the original's drifting atmosphere with violent industrial percussion.

Following his acclaimed collaboration on Strut with The Heliocentrics, the Father of Ethio jazz presents his brand new studio album, 'Mulatu Steps Ahead' for 2010! The album explores new directions in fusions of Western jazz with Ethiopian modes, moving forward the pioneering sound Mulatu developed during the '60s and '70s, showcased on the recent Strut compilation 'New York * Addis * London'.

For the new album, tracks were recorded with members of Either/Orchestra in Boston, with contributions by traditional Ethiopian musicians in Addis, members of The Heliocentrics and some of the UK's leading jazz and African players during the final sessions in London in November 2009.

Each track on the album tells its own story. The reflective, opener, Radcliffe, was composed specifically for the Radcliffe Institute during Mulatu's time lecturing at Harvard in Boston - the original score is now framed on the wall there. The Way To Nice was written and arranged on the tour bus during Mulatu's recent French dates - "with this track, you are travelling on a long journey, talking and thinking" explains Mulatu. "It was inspired by the many beautiful places on the coast road around Nice." Assosa adapts traditional music from the Assosa tribes in North-Western Ethiopia and Mulatu's Mood re-works a Mulatu jazz fusion composition from the early '90s into a new swinging Afro highlife arrangement. "I wanted to use West African styles within this version and try new ways of using the beautiful sound of the kora." Boogaloo and I Faram Gami I Faram reprise Mulatu classics with new, fuller scores and bonus digital track Derashe highlights the traditional diminishing scales of the Derashe people of Southern Ethiopia, a musical technique that would later feature in the classical compositions of Debussy and the jazz of Charlie Parker. "Many debate how this music developed but the Derashe have played these scales for centuries. It is an untold story."

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.

The fourth chapter of The Golden Ravedays saga will be released on Hippie Dance in April 2017.

Number 4 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.

Side A features Blood and Berry.

It is a captivating track that reminds one of the very first years when Superpitcher made music under the alias Sir Positive.

The beat is broken and the going is slow and rolling and the listening is a warm bath. There are flutes there that one never wants to stop and they almost don't. However essentially sweet this track is, like a berry on the tongue, it might lead to some blood on the dance floor!
Listening to Side B of this Golden Ravedays edition is entering a ghost town, alone, under a full moon.

Howl is a confluence of melodies and rhythms from Africa to Arabia where the snakes are being charmed out of their baskets and it is downright creepy.

A spooky voice is saying something but we don't know what exactly and it is bothersome because deep down we know that tonight when we are alone in the dark, we should be ready with the answer - or else.

All we can do is wonder:

Did Superpitcher sell his soul to the vampires for the vocals he let lose in this track

He answers by howling at the full moon behind thorn trees, in the shadows.

Entertaining, thoughtful and brave!

We salute the wolves and their master.

Hooo-oooowl!

Robin De Wolf is a man of many talents (and identities). Almost two years ago, he co-produced a groundbreaking debut EP on our label, as one half of SHIN. At the moment, he's making a name for himself as 'Phara' with uncompromising hard techno on labels such as Black Sun and Stockholm LTD. And now he delivered us three solid tracks under his new alter ego 'Robert D'. While 'Un Ni Yo is a house track with a wavy sound and affective synths, the second A-sided track 'Dommel' is a banger that begins with a smooth intro that changes over into hard kicks and raw bass chords. On the B-side, you can find a more melancholic uptempo track that goes by the name of White's Wisdom. Interstellar Funk' tops it all off with a remix of 'Un Ni Yo' that combines the wavy sound of the original with synth-heavy electronics. An absolutly killer EP!