Search:close

Henrique Oliveira aka HNQO, is the man responsible for this exciting full album release on DOC Records.

HNQO

is one of the fastest rising young stars in the techno, house and indie dance scene in Brazil.
Causing much attention and hype with his recent EP release on DOC Records (Balinese Death - also featured in MAGNUM VOL 1) and having reach the

#1 spot at Hot Creations Top selling single, it is time to introduce his first album "The Old Door", (influenced by Marlin Stimming and Anders Trentemøller, two of his heroes).
A weird string sound marks the opening of "The OId Door".

By mixing old sounds with new ideas, while recording different instruments, the track shows HNQO's life and it features Urzula Amen in the vocals.

"The Death of the Elephant' is a soundtrack to remind us how destructive human kind has been to the nature. Using sounds of Pizzicato Violin, "40s Cartoon' continues to take us to a journey through the artist's imagination.


The album is filled with the Henrique life moments during the year it took to produce the album.

For an example in "Egyptian Lover" HNQO describes how nice it would have been to have a lover flying overnight.

On this track Russian singer Cotry interprets the lyrics.

"Fallen Angel" is a dramatic piece telling a story still about flying.

"If" is another collaboration with the amazing Urzula Amen.


As we get closer to the end, when its finally time, 'Light a Cigarette' reaches a melancholic state where all melodies were recorded with eyes shut and in complete darkness.

A spiritual moment that became Henrique's favourite track of this project.

The scratch of a match, the flame and then a foggy synth that releases all the feelings in sound waves.
The album cover was inspired on a door.

A door that HNQO was able to enter by playing certain keys on his synths, percussions and strings that allowed him to reach a organic level while making it all a bit more human in terms of groove construction.
A poem from Rai Knight was perfect fit to give the density for the digital bonus track.
To get a better feel of what this album has to say, HNQO invites you to open 'The Old Door"

'Utopia' is the ninth studio album from the iconic artist Björk, out November 24th via One Little Indian Records. The album's artwork was created in collaboration of M/M, Jesse Kanda and James Merry and reflects the records sonic direction, optimism, lightness, utopia.
Of the album she explained to Dazed this Summer that, Maybe that's why it became a utopian theme - if we're gonna survive not only my personal drama but also the sort of situation the world is in today, we've got to come up with a new plan, If we don't have the dream, we're just not gonna change. Especially now, this kind of dream is an emergency.'
Björk wrote, produced and recorded the album between Reykjavik and New York, working closely with Arca and writing for, conducting and recruiting a thirteen piece flute orchestra which will be on the road with her next year.

After decades in the making Finders Keepers Records present the first-ever pressing of Serge Gainsbourg's most elusive and coveted soundtrack studio recordings - co-written, arranged and orchestrated by the genius Jean-Claude Vannier (Histoire De Melody Nelson) during what many consider to be the dynamic duo's most definitive creative period.Believed to have been lost in a studio fire by Gainsbourg enthusiasts for over forty years (a myth that also shrouds Morricone's lost Danger Diabolik soundtrack) the misplaced master-tapes for the drug-fuelled/Mai 68 cash-in/road-movie Les Chemins De Katmandou have been widely considered the final audio jigsaw piece in an immaculate discography/filmography thus earning this soundtrack bone-fide Holy Grail status amongst the most avid disc detectives.Featuring the original crack team of Paris based players now recognised as French library music royalty, this LP epitomises the inimitable musical direction and expert psychedelic pop musicianship that graced classic Gainsbourg/Vannier soundtracks like La Horse, Cannabis and Sex Shop. Laying the stylistic, future-proof foundations for subsequent decades of forward-thinking Gallic funk mastery. Comprising Vannier's signature recipe of thick plucked bass lines, close-micced drums, biting Clavinet and Eastern influenced strings and percussion (and a sprinkling of subtle traditional French instrumentation) the soundtrack to Les Chemins De Katmandou (aka The Road To Katmandu or The Pleasure Pit) captures Vannier and Gainsbourg in the first year of their creative partnership capturing their unique embryonic energy.

Décalé. is a fresh new label based in Biarritz ( France ). Décalé. focuses on reissuing worldwide 'french speaking' music from the 80's / 90's. Travelling into multiple genres : Synth-Pop , West Indies , New Beat , Occitan Folk , Afrobeat , ... and taking taste in weird and obscure records.For it's first release , Décalé. started with one of the most awaited french zouk ( in the ear of the beholder ) albums : Nar'Chiveol - 'Esperance Music Wir'. Originally released in 1988 on a private press in Guadeloupe and the same year on West Indies Records in Paris .'Apocalypse Now Ho' is now a well known banger for diggers and Décalé. wanted to show the whole album that is really surprising by crossing West Indies genres.From disco west indies with 'Séance de Nuit' and 'Spleen Maria' , weird rumba funk with 'Fo Nou Pédalé' to early biguine inspiration with 'Separation KC'. To close this album , ' Apocalypse Now ' and ' Swingue Zouk La ' sounds like a revolution didn't yet happen in carraibean music.

Classic !

Argentinian producer CementO delivers four uncompromising techno cuts on Norwegian label PLOINK this December.
Now based in Norway, the South American DJ has spent well over a decade honing his craft both on the dance floor, organising his own club nights and in the studio, producing records for the likes of Antarctic, Primitive State and Diligentia.
After the release of his first full length album on Faarikaal Records earlier this year, CementO now delivers an EP on Bergen-based imprint PLOINK.
'Fjordens Vei' provides noisy ambiences underpinned by a pulsating low-end and a series of arpeggiated synthesisers which evolve with the tracks sharp percussion before 'Trolls Reise' grips us with enticing chord progressions, gloomy atmospheres and crisp drum fills floating above a powerful and grooved bass line.
'Forekomsten' hits hard with a heavyweight kick, rolling hi-hats and thick dissonant drones whilst haunting motifs develop with dubbed out effects. Remixed by enigmatic producer Twinspeaker, the Speaker Extended Mix of 'Trolls Reise' demonstrates an intricate structure of intertwining melodies with acidic overtones to close out the release.

The 'industry' of dance music can be as soul-crushing as any other. Those thrills and spills of late, loud nights come with a best-before expiry date, after which even the most seasoned selector-producer-scenemaker begins to wrinkle their nose. To have experienced it all over 15+ years and seek to see it unfold again through fresh eyes, what sort of lunatic would willingly put themselves through that V would. So it's a new character, but who was the mysterious V in a past life Make your own conclusions. A little digging will lead you toward the origin story, but sometimes the pleasure comes from the unknowing. Opt to enjoy the Silence. Silence, however, is not the focal point for V. In fact, this new form is a way to discard baggage and revitalise the process of music making. Tremors had become to show up in recent years on record labels in Glasgow and London, flickers of subterranean volcanic activity. Yet what proved to be rising was no big bang, nor even a phoenix from the ashes - but closer perhaps to a Nautilus. A relic by some standards but a pretty point of curiosity to others, slowly bobbing to the surface. Something ever-present and familiar to thousands, yet with mysteries left to be revealed. But hey - what does V stand for anyhow For Vilnius By origin and by where the heart lies, yes, although V for Vedett is also an acceptable answer given the artist's transposed second home of Belgium; so too is V for Volkswagen, given the production work put in around Frankfurt as of late. For Vendetta Too strong, although V does bear a grudge match against hobbyists and dilettantes. If you're going to be a new name in town, you may as well be a new name in town with years of hidden history, right For Vishnu Perhaps this is the one. V's tangle of arms extend forward in many directions: some clutching 303s and LinnDrums; others pushing fingers i

Melodies International proudly moves forward with an elusive piece of mid-tempo Chicago soul originally performed by Gloria J. Jennings in 1977.

Gloria was signed to Stage Productions as a gospel singer with pure and raw talent she had developed in the choir of her father's Southern Baptist Church. She was 16 years old at the time. To tutor her for R&B vocals, Willie C. Nance of Stage Productions spent 3 months taking the artist back and forth for vocal training 25 miles each way, 3 days per week.

At the time, Mr. Nance had made plans to work with singer and songwriter Theresa Eagins to record Know What You Want'. However, two days before the recording was set to begin, Ms. Eagins refused to move forward with the recording as she chose to take her religious faith more seriously and forgo the singing of secular music. Hence, Stage Productions turned to Gloria Jay to perform a song that would go on to move people thousands of miles away, many years later.

One of them was Patrick Forge: Back around 1990 I had a residency upstairs at the Wag Club on a Friday night alongside Paul Martin (he was Gilles P's A&R right hand man at Talkin Loud), the night was called Respect and we played mainly Soul, Boogie and Jazz-Funk. Many years later I bumped into Paul at a record shop and he quizzed me about a tune I used to play at the end of the night at Respect. Hhe described it as being an independent Soul seven inch on a red label, slow to mid tempo... and more to the point a bullet of a record. It piqued my curiosity so much I burrowed through my seven inches and even made Paul a compilation of likely contenders, his response was lovely selection, but it's not on there!'. Damn, a mystery! Many moons later whilst I was living in Japan, my tenant in my London flat said she'd found an old mixtape I'd done for her way back when and was desperate to know the identity of something she was calling the choo choo song'. Eventually when I was back in London she played the mixtape and I quickly identified her tune as Fabrica' by Cesar Mariano, however letting the tape play some time later a familiar descending chord sequence catapulted me back to those Friday nights at The Wag, and Gloria Jay's plaintive vocals reminded me of a record that had been absent from my life for far too long. I've no idea what happened to my original copy, I hunted another one down straight away, and I've kept it close ever since. Know What You Want' is a song that goes deep in such a simple, unaffected, almost naive way, Gloria's voice is both sweet and raw, it's built on simple chords and obvious instrumentation, but it's so much greater than the sum of its parts.

Know What You Want' is soul music, pure and unadulterated, there's nothing getting in the way of the feeling, it's straight from the heart.' Carefully re-mastered from the tapes, MEL008 comes forth in its original 7' format with a 14'x14' poster.

'On Line': a collaborative album in parts, focused on themes of repetition, poly-metrics, transformation and abstraction. Volume 1 features contributions from Livity Sound protégé, Simo Cell, Berceuse Heroique regular, Don't DJ, and Wisdom Teeth label head, K-LONE. All of the tracks were written specifically for the project and in tandem, and all are connected by a constant pulse and communal headspace. The record opens with Simo Cell's 'Symmetry': a slow crescendo of whirring pads, melodic percs and dotted rhythms, all underpinned by thick slabs of sub-bass that, with each heavy hit, seem to collapse the track's atmosphere down and in on itself. Next, Don't DJ follows with the oblique, discordant chug of 'Übergang Zur Metrotram'. As with all of Florian's works, the track pulses with an organic, animal quality that completely belies its mechanical origins. Again, the track's space is filled with drifting pads and clanging chimes - but this time the atmosphere is close, discordant and chokingly dense. Last up, K-LONE clears the air with 'Woniso'. The track grows slowly out of a series of beautiful harmonic counterpoints - morphing patterns that come and go in the mix to reveal their individual colours and contours.

Much may have changed over a two-decade period, but Drumcode's commitment to releasing the scene's most cutting-edge and refined techno remains resolute. 2017 has already seen releases from Adam Beyer Vs Pig&Dan, Alan Fitzpatrick, Ilario Alicante, Julian Jeweil, as well as a debut album from Layton Giordani. The label continues push forwards; bringing fail-safe, club-ready music to the techno community.
Perennial pushers of the techno envelope, Dense & Pika are renowned for their standout studio output that seems to constantly conjure up a particularly unique take on their distinct sound, D&P have rather outdone themselves in 2017.
Kicking off the year with a selection of back catalogue remixes from the likes of Danny Daze, Scuba, Slam and Yotam Avni that illustrated the high esteem in which D&P are held by their peers right across the spectrum; From heritage acts to current headliners and cutting edge talent, the duo have gone on to drop bomb after bomb after bomb.

Their universally lauded remix of Tiga's 'Louder Than A Bomb' was the first of a run of chart topping cuts; With a remix of ME & her's 'Wild Rage' on Jamie Jones' Hottrax imprint and their own 'Casino' single both challenging the norm of what techno sounds like in the here and now.
Cooked up with a more melodic vibe and fusing elements of house and techno, Dense & Pika's latest outing on Drumcode offers something different compared to their previous work.

There is still that vintage feel to each of the tracks with analogue sounds and arrangements born and developed from experimental studio jams. Indeed, 'Suki' heavily utilizes the distinct harmonic tones of the Dave Smith Prophet 8 keyboard. While 'Little Sun' - A staple of D&P performances over the last three months - delivers a more classic Drumcode sound. 'Lanky' closes out the release with an infectious slab of wonderfully wonked-out raw funk.

"Those who physically suffer from dopamine depletion seek ways to experience maximized pleasure." Hong Kong's hyper-everything enfant terrible, S.Y. delivers a much darker complex Ep than his two previous offerings under a new alias, a creative therapy of sorts apparently dealing with substance abuse and unstable mental conditions which luckily for everyone translates into more leftfield dancefloor gold with the brilliantly nondescript '$ LFO' and weirdo power drive of the title track on A side, followed on the flip by a surprisingly beautiful ode to concrete music, and a deeply haunting field recording piece that closes a perfectly round EP... or does it;) Sleeve artwork by Matt Damhave

Tact Recordings launch their new vinyl only sub-label 'Tactics' this November, with the first EP coming courtesy of Yard One, who deliver three excellently programmed cuts in the shape of 'Tactics Vol.2'.

Launched by Yard One, aka Jordan Bruce and Larry Jones, and Richard Fletcher (who produces under numerous guises including Adventures In Daydreams and Fletcher), Tactics is set to become the labels latest project with a focus on solely vinyl releases. Inspired by the 2012 Various Artists release 'Tactics Volume 1' on Tact Recordings, which featured productions from Isherwood (Sharingtones/Imprints/Lize Records), journalist Per Boisen-Moller, and label regular Luke Black, the sub-label is set to showcase a more stripped back and minimal side to the Tact Recordings family with releases coming courtesy of Yard One, Fletcher, Luke Black and their close friends only.

The EP opens up with 'Avenoir', a raw and hypnotic production that utilises a multitude of lasers, glitches and pops at the forefront to keep listeners firmly on their toes, whilst a delicate and captivating melody floats fluently amongst ever-evolving percussion shots and twisting bass licks below.

On the flip, 'Granular Movements' snakes its way through swinging drums and hazy, jazzy melodies to reveal an effortless rolling groove, before 'Hexad' keeps the focus on percussive elements strong, whilst a moody bassline goes to work under layers of meditative pads and subtle background nuances to punctuate an excellent debut offering from the label. (Vinyl Only).

The founders of // DELIRIOUS EYEWEAR and Katnip met each other through the exchange of music and fashion. They became close friends and as you'd expect this would lead to this unique product you're about to preview. Heavy on the downtempo italo disco, dub and soul cuts, once again LdK provides the listener with an exquisite track selection and also found the privilege to introduce a fresh newcomer in the scene called "Juno" on vocals and some hot keys by Thomas van Dijk. The releaseparty for this album will be in Milan with an exclusive liveshow from de Kat including the whole band. Something to look forward to! Tip!

Acid Jazz are pleased to announce details of the definitive Leroy Hutson compilation - Anthology : 1972-1984 on 20th October. Erstwhile Impression, Leroy Hutson's catalogue has become increasingly coveted over the years and this compilation collects his Curtom recordings together with two newly discovered tracks including Positive Forces which is available as an instant grat track when pre-ordering the album.

Native of Newark New Jersey, Leroy Hutson grew up In a part of the world that spawned many of Soul's all-time groups, amongst them, The Parliaments and the Manhattens. Smitten by the music he was to join a local quartet, The Nu-Tones and despite never recording the youthful Hutson experienced the thrill of being a singer. On splitting up, Hutson found himself studying in Washington DC and once more in the company of supremely talented artists including Carla Thomas and future collaborator Don Hathaway. Various recordings came and went with little chart success before, along with Hathaway he became central to a group of singer, songwriters and players under the tutelage of Curtis Mayfield at his Curtom label a relationship that initiated Hathaway's chart topping career when the pair co wrote the all-time classic and million seller The Ghetto.

Early 1971 saw Hutson replace Mayfield in the Impressions as he left to concentrate on his solo career, the transition was seamless and although relatively brief saw the band in the pop and R&B charts. His debut on the Billboard chart as a solo artist arrived with Love Oh Love, the first of a dozen Curtom singles he recorded during an exciting and turbulent decade for black American music.

The seven albums Hutson released on Curtom between 1973 and 1979 are a legacy that remain highly respected, almost revered amongst soul cognoscenti, an untold influence on an entire generation of musicians throughout the eighties. The demise of Curtom in the early eighties saw Hutson relocate to Elektra, where in 1982 he released Paradise - highly acclaimed and much loved for a time it looked like that release may spell the end but some twenty-seven years later, the newly monikered 'Lee' Huston unveiled Soothe You Groove You.

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

Legendary Los Hermanos member Santiago Salazar's album 'Aspirations For Young Xol' is given a vinyl release courtesy of Rekids.

A heartfelt dedication to his son Isaias, 'Aspirations for Young Xol' takes us through the life of a pillar in the electronic music community - Santiago Salazar. From his formative years spent in California to his connection with Detroit and the passing of a childhood friend, the long-player's tracks signpost the musician's significant experiences, both positive and negative. This meaningful body of work was released digitally on Pastel Voids and now Rekids release the album on wax.

'Saturated Fear' sets a deep tone for the LP, flanging melodies and echoing claps float through the composition before the album's title track 'Aspirations for Young Xol' offers haunting arpeggios with occasional acidic overtones which are cleverly offset by beautifully designed lead synth transitions. 'Bloodlines' follows a similar musical vein with delayed bass riffs that are suspended above shimmering hihats and a weighted kick.

Santiago provides three beatless pieces throughout, which digress into more emotional territory whilst offering brief respite from his heavier drum work. 'Xol's Pain' combines orchestral strings and swelling synthesisers which build tension with a subtly complex, evolving motif. Both 'Dark Matter' and 'Ode to Stinson' use arresting atmospheres, warped arpeggios and ethereal pads which lull the listener into a retrospective mood.

An intensity builds in the later tracks, a gritty but powerful low end provides a solid foundation in 'Orange Blossom Thump', eventually making way for a hectic and elastic lead synth before 'Pachuco Dub' displays drones that build a dissonant pressure in which the complex tom rhythms and rolling hi hats can grow. 'Sarah Rivera' hypnotises with its delectable chord progressions and complimentary melodies which seem to float above a rigid drum composition to close the album with style.

This November will see Elia Perrone launch his new Jun'Ai imprint with his very own 'Flowers' EP, accompanied by a remix from Romanian minimal powerhouse Vid.

Tuscan producer and DJ Elia Perrone has long been one of the most respected figures in Italy's underground electronic music scene having co-founded the Klang Club in Arezzo which has seen him play alongside the likes of Simoncino, Juju & Jordash and Move D. Amongst this Elia, alongside brother and production partner heads up Unclear Records which plays host to their collaborative works as Easy To Remember as well as material from the likes of Baby Ford, Roman Fluegel, Christopher Rau and Dandy Jack amongst others.

Here though we see Elia turning a new chapter with the launch of his Jun'Ai imprint and taking the lead on the inaugural release is 'Flowers', a mind-altering slice of micro house fueled by pops, whirrs, clicks and sample cuts while fluttering atmospherics and bright string plucks ebb and flow throughout the murky depths of the composition. Vid aka Egal 3 steps up on remix duties to follow, delivering a straight edged take on things via crunchy organic percussion, billowing echoes of the original's atmospherics and a robust sub driven bass line.

Opening the flip side is 'Rain Smell', a slow brooding, hypnotic number employing dynamic string licks, modulating synth drones and bumpy 4/4 drums before 'Moshishi' closes out the package with airy ethereal textures, glitched out off-kilter percussion and rumbling low end tones.

Copenhagen's Echocord Colour returns this mid November with Brendom Moeller's 'Magic City' EP, featuring four originals from the New York based artist.
Brendon Moeller has long been a purveyor of authentic dub-infused Techno since stepping onto the scene via his 2006 'Sweetspot / Humpback' EP via Echocord and has since gone on to release on reputable imprints such as Third Ear, Kimochi Sound, Delsin's Ann Aimee, Mule Musiq and of course his very own Steadfast.
Here though Moeller makes a welcome return to where it all began with some fresh material for Echocord's Colour sub- label. 'Caravan' takes the lead on the release and in typical Brendon Moeller fashion we're treated to densely layered dub chords, throbbing subs and expansive atmospherics whilst robust drums drive the composition along.
Magic City' follows and ups the energy levels even further with pounding industrial drums layered underneath billowing dub stabs and eerie drones. 'Magic City In Dub' follows and as the name suggests offers up a reduced take on the composition, dropping the tempo and shining light on the billowing echoes of the original whilst stirring in some off-kilter rhythsm and additional processing for good measure. Lastly, 'Departure' closes the package, with haunting synth drones, bumpy rhythms and murky vocals wandering throughout the seven-minute composition.

Experimental Dancefloor music, unformated and still ... exploring sweet and sour... First tune, called Oppression is a Revered techno kick Doom tune. Secodn track is a sweet shy volumed kick at 220 BPM still...And third A side track, Lobotomie Croissante is an obsessional Industrial broke npsychedelic track, a bit in the Olschool little 7'' witch i cant remember the name of^^ B side opens on Mutation, a 170 BPM speed techno/trie dark tune very new wavy ambiance... Special and precise ! Then comes an ambient dark indus tune called Ondes Robotiques. Terminal is a break electronica hard tune, in a AFX Ant-zenized style. Terminal is the name... good anme to close this EP. A record in a rare style nawadays , offering a real variety of unformated sounds, not so hard but still hard enough to be dancefloor ! MASTERPIECE !!

Debuting under his given name for Maddjazz Recordings' second offering, is DJ, producer and synth enthusiast Henry Keen.

Henry's music was discovered after a long night of online digging, and after several exchanges, it was apparent that Henry was making music that defined exactly what Maddjazz is striving to achieve; honest music that's free of form and not constrained by any genre or tempo.

Henry has been making music as Soundspecies alongside brother Olly since 1998 and the duo are also members of London-based experimental Gnawa band, Electric Jalaba. He also produces solo under the alias, The Room Below, initially reworking close friend Paul White's 'Rapping With' album but more recently exploring dance floor territories with releases on UK imprint 'Don't Be Afraid'.

70's Baby is a raw and honest record. A collection of uptempo grooves written in various locations around hectic inner London. It's spirit is born out of the freedom of the CDR sessions at the now defunct club Plastic People, where many of Henry's productions were first shared, and where tempo and genre were irrelevant. It references Henry's love for the instrumentation, recording techniques and sounds of the 1970s, the decade of his birth. Featuring a tasteful blend of worldly and otherworldly sounds, It owes itself to modern and ancient dance themes alike.

We are so pleased and honored to be presenting this mini LP to the world!

It is time to discuss fundamentals. For his second appearance on Laut & Luise Constantijn Lange shows his interpretation of human mannerisms that contrast so much while being closely entangled. Able to deliver both pain and satisfaction alike, its apparent simplicty may deliver the purest bliss while the complexity of its impact can at times feel devestating: Power & Love. For the first part of this pair Onosizo stands by to passionately proclaim and address the true nature and dangers of power. In contrast the second part of this EP is a musical dedication to all the light hearted and emphatic moments, a chance to brighten up and an invitation to feel untroubled, if only for a few minutes. Just like a mapleseed rhino would do.

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

It's just over 3 years since we launched the Africa Seven label in Paris and London. Our first release back then (Airways One) is still our best seller and had to be repressed 4 times so far. Forty or so releases later it is time to take to the clouds again. Being the unimaginative bunch we are, the fourth installment of our African sky filled musical cornucopia is called African Airways Four (Disco Funk Touchdown - 1976 - 1983). This time around all tunes have the Disco flavour. As ever it's all about the music... the skies are wide and funky and the air is filled with musical goodness. Your flight is about to leave.

Your flight opens with a punchy disco funk assault from Paris based Cameroonian Tala AM. Here with his drive bass and guitar funk riff 1981 stomper "Get Up Tchmassi". Next up and staying with the Cameroonian connection is Eko with "Bowaa Mba Ngebe". The lyrics talk of accomplishing the things in life for your family and yourself. The sweeping strings and gloriously uplifting music matching the sentiments of the words perfectly. Uta Bella began singing in the 60's and by the time disco hit in the 70's she was already established a singer in her native Cameroon, here the locked on groove of "Nassa Nassa" is a perfect snapshot of the sound and the African disco times.

Charly Kingson (cousin of Manu Dibango) is next with his "Nimele Bolo". Recorded in Germany with the cream of Munich's session musicians the bass synth is out in force on this one. Punchy brass, rock solid grooves and jazzy Rhodes add all the right ingredients for a fine disco synth excursion. Next is the musical heavyweight from Cameroon cousin Manu with his 1978 Disco, jazz funk masterpiece "Sun Explosion".

Side two opens with a blast of Elvis Kemayo and his piano and guitar funk bomb "Biram". Next Momo Joseph gives us "Africain". Best known in France as an actor, this disco funk groover was released on his self pressed LP "War For Ground" in 1983. A true gem indeed. Nigerian, ex Funkees member Jake Sollo is next with "Tinni Yanana". Recorded in the UK in 83 its slick and smooth with a hint of "at the car wash" groove. Pierre Didy Tchakounte follows on with his soul funk 'golden years' style groover "Soul Magabe". Produced by one of our favourite Parisian producers Slim Pezin. We close off our journey with the tribal chant disco-funk special from the Monstars "Funny Saga".

Ladies and Gentleman, we have landed at your destination, please remain seated until the aircraft has reached the terminal. We look forward to welcoming you aboard Africa Airways again soon.

With its sixth release NEW YORK TRAX continues the mission of highlighting the jewels of the New York underground. Liquid Asset is a Philadelphia-born Brooklyn-based hardware virtuoso who has made a name for herself by virtue of appearances on labels such as E-Saggila's Summer Isle Brooklyn's own Primitive Languages
Jacktone and Acid Etch where she has recently delivered a furious 7' split with Isabella. Liquid Asset built her own 808 and 303 clones by hand. The modified 303 is particularly audible in the opening track of the record Ephemeral Nights' where she did not waste time on an intro and went straight to creating a sonic pandemonium by blending an airhorn sound with frenzy acid basslines and a hardcore-leaning 909 kick. Contact' is a merciless creature of the night with its relentless dark groove building up throughout this composition cannot easily be classified as a representation of any particular genre. Controlperception' opens the B side. Here Liquid Asset plays with a cheerful acid line over a dreamy landscape often punctured with bleeping sounds. Finally in Forgetmenot' two opposite sounding basslines intertwine creating a minimal yet very capturing composition to close this one of a kind record.

Calypso's next EP comes from one of the label's owners, Thomass Jackson. Delivering 3 tracks full of psycodelic guitars, analog synths, soothing percussions and with Italians "Boot & Tax" on remix duties, this Ep covers a broad range of sounds and styles. The journey begins with the westernesque "Head Rejection" sumerging us in a hallucinatory desert full of weird snakes and scorpions. Up next is "Witzelsutch"(a leftfield secret weapon for some djs already) with sublow basses and sharp synths doing all the work. "Creepy PC" is a slow chugger with a trance-inducing vibe aimed to make you close your eyes and let go. Last but not least, Italian super duo "Boot & Tax" delivers a somewhat more straight foward version of "Head Rejection" where a sonic synth makes you forget you are in the desert.

After a thorough testing on dancefloors across Asia, we have put together four tracks most in demand, all edited by the Homesick team and their close friends.

* Aquatic Lab Records presents a very special release to close out 2017. LAB018 plays host to Bristol luminary and Tectonic boss Pinch, who delivers three menacing and forward-leaning apocalyptic cuts.

* The pointed and growling ragga-style techno of A-side 'Brain Scan' is built on battering rhythms and dubwise sonic techniques, in the vein of an old school revivalist production. True to the roots, futuristic in scope.

* On the flip, 'Street Light' is an equally abrasive bassweight roller, counter-balanced by Pinch's cavernous and cinematic sound design. Strictly war sounds for the dance.

* Rounding off the release is soundsystem meditation 'Abducted', an icy, gangster half-stepper drenched in thick reverb and melancholic DMZ-style laments.

* Mastered by Rashad Becker at Dubplates & Mastering (Berlin). 180-gram vinyl.

Finnish visual artist and filmmaker Hannu Karjalainen's music draws inspiration from ambient, drone, modern classical and dream pop. His first album Worms In My Piano was released in 2007 on Osaka Records and the second album, Hintergarten in 2009 on Simon Scott's Kesh Recordings. A Handful Of Dust Is A Desert, his third album - and the first under his full given name - arrives after a prolonged break.

Hannu Karjalainen's association with Karaoke Kalk started with his remix of Dakota Suite's The End Of Trying Part III on The Night Just Keeps Coming In in 2009 which also featured remixes by the likes of Hauschka, Deaf Center, Loscil and many more. Now, luckily for all concerned, Hannu is releasing a full length album on the label in the form of the exquisite record A Handful Of Dust Is A Desert.

The album opens with the track Angel which is a truly heavenly composition reminiscent of Boards of Canada's finest work. The Emigrant makes effective use of sinister synth-lines and delicate glockenspiel patterns to invoke a kind of science-fiction soundtrack atmosphere. Throughout the record, our ears are graced with truly sublime sound-scapes and transcendent textures.

The title track is actually the shortest tune on the album, but in no way less evocative. It's looped piano melodies are comparable with Susumo Yokota's later recordings in their minimalism and poise. A Year In a Day continues to walk the fine line between ambient and electronica - which is one of the albums great virtues: it shows how lively and eventful ambient music can be. Certainly ambient music benefits from having a strong pulse as Karjalainen demonstrates in various tracks on the album. The song Love Is A Black Lion features a sample from the afore mentioned Dakota Suite tune The End Of Trying Part III, and therefore somehow closes a circle.

This powerfully contemplative album comes to a controlled landing with the majestic Breaks My Heart She Aria, another in a long line of mesmerizing drifts, with a floating choral voice delicately enveloped in strings and pitched percussion.

A Handful of Dust Is A Desert is instantly captivating and for lovers of ambient music, dream listening. As an artist who trained in photography and is mostly active in the world of visual art, Hannu Karjalainen clearly enjoys a great deal of creative freedom in his music. This is the kind of desert you won't mind getting lost in and even take pleasure in roaming through the expansive sonic landscapes and horizons it embodies.

First outing for this collaborative effort from the prolific Posh Isolation mainstay Loke Rahbek and Frederik Valentin of KYO, also on the revered Danish label. As old friends circling around the same scene this is the first time they have combined their respective perspectives. The results are an ambitious aquatic infused audio environment. Recorded near water at Valentin's studio within the vicinity of the new aquarium in Copenhagen, Buy Corals Online channels the sensual floating aspects of such environments.

"During Japan's Edo period (1615-1868) the phrase "the floating world" (ukiyo) evoked an imagined universe of wit, stylishness, and extravagance—with overtones of naughtiness, hedonism, and transgression. Implicit was a contrast to the humdrum of everyday obligation. The concept of the floating world began in the Japanese heartland, migrated eastward, and came to full flower in Edo (present-day Tokyo), where its main venues were popular Kabuki theaters and red-light districts." - Wikipedia

Buy Corals Online arrives as a suite of works embracing the joy of being close to something you don't require interaction in order to experience. This enchanting aquatic infused audio hovers a sensual world rich in sensory experience. Loke Rahbek & Frederik Valentin's debut outing conjurer's a world both sensual and abstract as it moves casually alongside fantasy.

Tom Ware is a Grammy nominated engineer, producer and musician from Omaha Nebraska. Throughout the 70s and 80s Tom was the drummer for many bands, including Norman & The Rockwells, Toy boat Toy boat Toy boat, and Hit N Run. Because of his love for electronics, mechanics, and machines of any kind, he was always the only one who truly knew how pa systems worked. Tom got an entry level job at a Rainbow Studios and would work at the recording studio during the day, play evening gigs till 2 in the morning, then go back to the studio and work on new ideas all night. During these teeth cutting sessions, Tom worked by himself, following his instincts and creating sounds he loved to listen to.

His reckless abandon approach and thrill to learn was a high octane fuel that resulted in his first solo self-titled album. The album's 10 songs were recorded and mixed between August & December of 1983 and self-released in early 1984. The album would be re-released in 1985 by independent Krautrock/Kosmische Musik label Sky Records in Germany and re-titled 'The Fourth Circle'. Some of the instruments used on the LP were a Sequential Circuits Prophet 5, & Pro One, Simmons SDSV electronic drums, Roland TR-606 drum machine, & Hammond B3 organ. While recording this album Tom was influenced by new wave sounds of Yellow Magic Orchestra, the Berlin and Düsseldorf schools of pulsing synth music and the celestial realms of Jean Michel Jarre. All songs have been mastered and lacquer cut by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a replica cover with computer graphics by Lars Erickson and photos by Ken Mayer and includes a postcard with liner notes by Tom Ware.

Nach seinem im August 2016 erschienenen siebten Studioalbum "Partners" schließt Peter Broderick das Jahr 2016 mit der außergewöhnlichen EP "Grunewald" ab, die wie gewohnt via Erased Tapes veröffentlicht wird. Für alle die Hall mögen, ist "Grunewald" ein wahrgewordener Traum. Die fünf Tracks entstanden in nur einer Nacht in den majestätischen Räumen der etwas abgelegenen Berliner Grunewald-Kirche. Sie erkunden die faszinierende Partnerschaft zwischen der Raumakustik und Brodericks Solo-Darbietungen auf dem Klavier und der Violine. Während des Mischens der Aufnahmen wurde kein künstlicher Hall oder Delay benutzt, nur der natürliche Klang des epischen Kirchenraumes kommt zur Geltung. Die Größe des Kirchenraumes und dessen natürliche Interaktion mit den genutzten Instrumenten wiederspiegelnd, ist die "Grunewald"-EP zugleich auch eine Hommage an einen ungewöhnlichen Ort, der Zufluchtsstätte für eine ganze Generation zeitgenössischer Komponisten geworden ist. Tatsächlich war die Kirche zwischen 2008 und 2011 ein Hotspot für eine bestimmte Künstlergruppe um Nils Frahm.

Swedish artist UBX127 is back on Figure with what might just be his most accomplished release to date. Spanning an arc cross four diverse tracks, the story told is abstract yet full of imagination. Gently pulsating crystalline opener woid carefully sets a vast open scene, covered in gushes of interplanetary winds. First contact is made on A2, it's electro-esque drive and spiky synths hinting at its alien origins. A taste of their mighty technology is given on Watch Out Below, booming with a propulsive punch and constantly swelling in intensity. Relief comes in form of Singularity, a beautiful, long-winding closer, on which soothing arps effortlessly outweigh their beaty counterparts. Having already proven his mastery of the machines with three stellar EPs for the label last year, this record further showcases UBX127's special talent of crafting tunes that are as ripe with drama as they are ready for the floor.

Betino's Records proudly presents its third release: an EP by the very sharp collective The Big Hustle. The band founded in 2014 by bass player and composer Sébastien Levanneur, brings
together 70's old school funk with the hippest actual sound with influences spanning from Steely Dan to Snarky Puppy, from Mandrill to Lettuce and from Herbie Hancock (Manchild era) to Soulive.
With mighty horn players, a rock and funky rhythm section, and percussions added to it, The Big Hustle's music has a very large variety of sound landscapes. Still, the music never loses the groove and always stays close to the funk.
The A side opens with "Afrorever", a tribute to African culture and music. The guest of honor on this song is legendary Malian musician Cheick Tidiane Seck, longtime partner of Salif Keita, and collaborator of Joe Zawinul, Carlos Santana and Damon Albarn to name a few. After Cheick's introduction, the songs jumps into a typical afrobeat vibe featuring a tight and powerful horn section, suddenly breaks into an electro funk groove and ends in a furious percussive party.
Second track on the A side is "Faure is the Magic Number". It is dedicated to Thomas Faure (co-composer of the track) and François Faure (both featured on this song on tenor sax and keyboards respectively). This piece displays the band's ability to blend jazz-funk groove with a heavy hip-hop beat. Kind of DJ Premier meets Steely Dan.
The B side starts with "Afrorever (Sun's Up Mix)". Through this mix, one can acknowledge instantly Olivier Portal's touch. From the very first chords, he conveys us into his realm blending warm and melancholy keyboards with an old school deep-house rhythm pattern.
The fourth track is called 1, 2, 1, 2'. It is a purely improvised moment in the studio while the band was sound checking before recording with special guest rapper Raashan Ahmad. Nicolas Gueguen had the good idea to press the R button and what you hear is basically what happened afterwards.

Enjoy!

The always-deep Closed Paradise serves up the first release for Better Listen Black Label, which will look to show off the moodier, house side of the DC imprint. The Secrets EP is four tracks of deep tackle, pulling from lush r&b soundscapes and vibes from far away places alike.

Distant Images is D.K.'s fourth release on Antinote and we can say quite safely that Dang Khoa Chau fueled a few identifiable obsessions over the years - for those familiar with his work, it probably won't feel like uncharted territory when they'll hear a somehow well-known guitar in the background of the title-track.
.
What time spent collaborating with D.K. also showed us is how much his sound magnified itself and its textures sharpened for the past three years. We now know for sure that his music only seems versatile on the surface as Distant Images confirms that the Paris-based musician has been, in fact, digging deeper in the same direction, each new record working like a diaphragm, always more precisely adjusted to capture his inner vision. It feels, for instance, like D.K.'s music is constantly trying to reach a higher level of evanescence from one record to an other, a process which possibly accelerated after a visit from Suzanne Kraft - who he recorded an album with, earlier this year (coming out on Melody As Truth).

With Distant Images, D.K.'s sound also took a step further into reality - the most attentive ears will hear seagulls on Distant Images while rain is softly falling on Leaving - and slightly departed from the digital universes that his previous records seemed to set in motion. From the most abstract songs - like the Steve Reich-ian Shaker Loops

- to the most evocative ones, the five compositions on Distant Images are like stained glass, gently filtering natural light. It is therefore no coincidence if, of all the senses, the titles of the songs mostly refer to Sight: close your eyes while listening to the cinematographic Days Of Steam and visions of an industrious city might appearbefore you.

The beauty that emanates from Distant Images is of a diaphanous kind and the record a collection of kaleidoscopic moments.

Since making their debut on the imprint in 2013 with 'Blue Aconite', the Italian duo Hiver has since released two more EPs on Curle; 'Same Mistake Twice' in 2015 and 'Soundescence' last year. Since the release of the latter mentioned EP, Hiver have been busy behind the booth, performing in the UK, China, Germany, Holland and, of course, in Italy, where they still hold a residency at DUDE Club. Kicking off the EP is 'Elipse', a stunning four-minute track that nods to avant-garde artists such as Wolfgang Voigt's GAS alias or Brian Eno, as the pair gradually weaves several layers of shining, atmospheric tones before slowly fading into the background. Title-named track 'Air Castles' follows, with the tight selection of drums combined with the ebb and flow of soaring synths creating a melodic style of techno that has become synonymous with their name. Next is 'Aleutine', a song that similarly blends Hiver's characteristically ethereal, hazy synths alongside more vibrant analogue bleeps to great effect. These delicate synths are later given the chance to gleam as the track comes to a close.Closing this excellent four-track EP is deep-groover 'Leisure', seeing Hiver up the tempo through their clever use of percussive elements, sharp synths and headstrong drums.

As the head of Grounded Theory and MANHIGH, Henning Baer has since 2009 presented his downcast, experimental interpretation of modern electronic music to wide critical acclaim, establishing his forceful presence on Berlin's scene with immaculate curatorial skills and equally imposing DJ abilities. His discography so far, concentrated on Adam X's legendary Sonic Groove imprint and his own K209 and MANHIGH imprints, amongst others, keeps step with his formidable reputation and wide-ranging tastes, moving across the spectrum of hard-edged, aggressively modern techno. With 'Shatterproof', his long-germinating debut album for MANHIGH, he offers for the first time his unified vision in extended format, a varied exploration into the outer limits of the genre. At its centre a work of dark minimalism, he sets and maintains the pensive tone on ambient pieces like 'Angel Dust', 'All Over', and 'MIL-STD 461', which foreground the exploratory electronics that maintain their presence throughout. The corroded textures of the sounds, enveloped in decaying reverb, bring life to pieces like 'Never Ending' or 'Bliss', which sit between rhythmic interludes and the stricter dancefloor material found on the remainder of the album. Once he shifts into techno, he does it unremittingly, from the uptempo fury of 'Code Buster' and 'Burning Chrome', whose starkness only heighten the tension, to denser pieces like 'Drama Sky' or closer 'Vermillion Red', where the cavernous impacts of drum hits punch holes through beds of seesawing synthesizers. Shatterproof like its title suggests, Henning Baer's first album unifies and strengthens the work of an artist whose legacy is already assured.

Following on from his intimate entry into the DJ-kicks mix series, Lone is putting out a vinyl only EP of all the unreleased tracks from it. The horizontal mix tapped into all of Lone's influences, from hip-hop to house, IDM to techno. It also showcased some producers signed to his own Magic Wire label, and of course the back bone was built from some of the Nottingham man's freshest new productions. They come after celebrated releases on Werk Discs, R&S and Dekmantel, and include dance floor aligned EPs and more rounded full lengths designed for close listening. Here he sits in between the two across three thrilling cuts. Opener 'Saturday Night' is a breezy bit of deep house with crisp boom-baps and swirling pads that lend it a dreamy, ethereal feel. Spoken word snippets are stitched into the groove and the whole thing is as frictionless and feel good as house comes. Next up, 'Arc' is a little more direct, with scattered snares flapping over dry wooden kicks. It's a punchy bit of house latest DJ-kicks mix star Kerri Chandler would be proud, and comes overlaid with spring time flutes and luscious pads as a classically inclined bassline powers things along. Last but not least is 'Alpha Wheel 4' (Ambient Mix), a kaleidoscopic passage of suspensory sound scuffed up glassy surfaces trapping you in rays of refracted light from start to finish. All three tracks exhibit Lone's authentic, lived in and lo-fi aesthetic, and as a result slip perfectly into his ever more essential discography.

For the fourth release on 6dimensions, Steve Bicknell has delved into the catalogue of the Lost Recordings series on his previous imprint; Cosmic.Steve Bicknell's Awakening The Past feature three tracks from Why And For Whom, the first of Bicknell's Lost Recordings releases. Originally released in 1996, Why And For Whom Has been named one of the best UK Techno records of all time with Bicknell being billed as a 'criminally underrated producer'.With the re-release of these tracks in 2017, it is clear to see that the tracks have stood the test of time. All four-tracks on Awakening The Past were previously untitled but have been renamed with a focus on the human condition. With the 6dimensions label being founded on the principles of the 'human mind's natural make-up' it seems a natural decision to rename the tracks to suite the label ethos. Although one quarter of Awakening The Past was released 20 years ago, Bicknell's focus on mood shows coherence between his work then and now. The era of production can be distinguished in the EP, however, this is only eminent through a difference in recording technique. More importantly, the mood of older and newer productions are indistinguishable from each other and display Bicknell's unrelenting dedication to his own focus on concept of aesthetic. Physical Life' opens the EP with a rawness that is carried through the EP. With tape hiss underpinning the track, Bicknell's signature bass grumbles hold together hi-hats which progressively filter in and out over the course of the track. Bicknell's use of filters carries through onto the second track of EP, 'Natural Vibrations' boasts an erratic and high-pitched 303 sequence that shows a bit of experimentalism before the EP steps back into Bicknell's more familiar techno odysseys. 'Fearing The Minds Fears' paints a tense atmosphere, lashings of motoric modular synth are added with little fuss as the track title confirms its significance. Finally, 'Conscious Awakening' drives the EP to a close with dizzying pace: it's here that Bicknell's ability to control the emotion of the listener is really evident.

Optimo Music is delighted to continue its fruitful relationship with The Golden Filter with the release of this fantastic 4-track 12' EP.
We always prefer our artists to speak for themselves and avoid bullshit PR hype so here is what they have to say about this EP -
We're quite agnostic, and unreligious, but if there is any vibes associated with the EP (and maybe all of our music) it is very Buddhist in its ideas. Mindful. Aware of impermanence.
The whole EP is about being with the one(s) you love when everything else around you breaks down. Looking inward, with pure love, in the hope to radiate outward, rather than pushing for a fight, or running away. Recorded, written, and produced in isolation by Stephen and Penelope on our own in East London Studio space.
The EP starts with the song 'End Of Times' which is a dramatic, Shangri-Las influenced take on feeling powerless in a chaotic world, but still high on love. Happiness can be found in analog reverb. This is followed by 'Serenity', a hard and tranquil meditation of past + future.
Side 2 leads with 'Heart Control', with a slight nod to Pink Floyd. A nine minute plea to ourselves to keep it all focused and under control... The EP closes with 'Darkness Falls'. The lyrics for this came from an apocalyptic dream that Penelope had, and wrote down in the morning. the music is 100% purely modular, er, except for the tiny bits of guitar at the end.