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Pumpin and hardtek... 4 tunes to offer a cool old school groove, full of a natural dancefloor feeling...

A generation younger than the founders of the Teklife crew, DJ Rashad and DJ Spinn, DJ Taye was originally a rapper and beat maker before hooking up with the collective and jumping into the world of footwork production and DJing.
However, it was Rashad's untimely passing in 2014 that was the unlikely catalyst for developing the sounds and ideas for this album. He says, "When Rashad passed away I felt inspired to continue evolving the music that I loved so much coming up in this world. So, I had to do something...make something brand new."

100% committed to pushing further the potential of the footwork template, Still Trippin' is ambitious in its range and scope. Taking two years to formulate, the record broadens the possibilities of the sound, forcing it to adapt to songwriting, and also revives Taye's talent for MCing and producing beats to which he can rap and sing. Furthermore Taye definitely ups the ante with his complex and precise drum programming, never losing sight of footwork's ability to confound. The album features a range of guests that span contemporary music, the eccentric, instructive rapping of Chuck Inglish of Detroit duo the Cool Kids is featured on 'Get It Jukin', Odile Myrtil, a young vocalist from Montreal, lends her smokey soul to 'Same Sound', Fabi Reyna, the editor of the celebrated women's guitar magazine She Shreds, sings and plays bass and rhythm guitar on 'I Don't Know' and Jersey club queen UNIIQU3 offers production and rapping on 'Gimme Some Mo'.Also, Teklife members DJ PayPal and DJ Manny assist on production, and DJ Lucky is a guest MC on 'Smokeout'. Taye is ambitious in his hopes for the album, "I took this as an opportunity to not have boundaries with footwork. Different approaches to our 'underground' sound to make it broader. It's only underground until it crosses that visible threshold.' This album brings all of this to the forefront.

Turbolenz is a new label from Offenbach run by Philipp Lenz aka Delenz. The first label's release comes from Shayde, the brain child of Delenz and his partner Richard Hötter. Titled - Ama il buco' (Italian natives get the joke here), it features a very diverse spectrum of sounds and moods.

- Ama il buco' a slow grower and steady groover that will get many bodies moving and is some ready-to-get-naked material for sure.
- Kühlschrank in F-Moll' is a rather dreamy, yet positive and escapistic affair. Insert your favourite sunrise after a long night out here.

The flip side starts with a remix by none other than Swayzak, the mighty tech house duo from London. Their take on - Ama il buco' is a crisp and cool peak time affair for a moment of contemplation - if that makes sense. The last track - Ofwebach' is obviously an homage to Delenz' home town Offenbach. Apparently a more uptempo and experimental terrain, - Ofwebach' is something else.

All in all, the result is a rock-solid 4-track debut release on Turbolenz or as they say in Offenbach and Frankfurt: Megastabiles Ding.

Al Brown was inspired to write the single 'Proverb' after spending hours hunched over his bible in Spanish Town as a youth. He had become known for his more commercial covers of singer Al Green material, but 'Proverb' was one of the few tunes that he recorded that were roots inspired and has become highly sought after. Recorded at Channel One with Ernest Hookim engineering, who did an excellent job of squeezing out a thumping horns led tune. The inspired version on the flip has Lloyd Parks on bass and the singer Derek Lara on drums. The Seventh Extension Band was the house band of the Zodiac label. Not a tight knit band as such, but built built around singers Bunny Lara and Derek Lara. 'Words spoke in haste will all go to waste so be cool'. True thing Al. Comes in hand stamped bag.

Record Kicks proudly presents "SuperStudio" the new single by legendary Italian cinematic funk combo Calibro 35 sampled by Dr.Dre and Jay-Z, taken from their forthcoming new studio album DECADE

"SuperStudio" - available on a super limited edition 45 vinyl and digital download together with bonus track "Gomma" - is Calibro 35's first single and anticipates their new album DECADE that hits the streets next 9 February. Quoting the band "SuperStudio is the main theme for a movie that doesn't exist, starring Clint Eastwood and Pam Grier saving earth from the invasion of deadly robots from another planet" and it's pure Dynamite. On the flip you'll find "Gomma", the bonus track out of the album which is an irresistible funk groovy shaker.

Recorded at the legendary Officine Meccaniche studios in Milan by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up. Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album and Jay-Z, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

Rave techno enhancer... Dancefloor 4 tracker. All dj friendly 140 BPM... with some cool acid progressor for the slutty finish !

LP incl CD
Garden of Love' one of the first single tracks feat Peter Hook (New Order) On the cover of their new album Malamore, their first album for Because Music, Lionel and Marie Limiñanas are back in black, and looking ineffably cool, standing next to a classic silver Fifties trailer, shot at a beach festival in the French town of Paulilles by the Spanish border, just 30 minutes drive from the duo's home town of Perpignan. They'd been playing a DJ set, only with 45 rpm vinyl - Sixties punk, Italian pop, movie soundtracks and Seventies rock tracks,' they recall. The picture syncs well to the colour of Malamore, like the artwork of a movie soundtrack. The lettering on the cover is significant too.

To celebrate the upcoming 20th Birthday of Virus Recordings we bring you two classic old-school tracks from our catalog!!

* ''What's the Difference' Optical Taken from the 20YearsOfOptical LP release from 2016...the long awaited single release of an old school hidden gem from the DnB pioneer.

* 'Medicine Remix' Widely regarded as a seminal development in the Neurofunk genre, Matrix brings you a slice of super cool drum and bass future funk with his classic remix of Ed Rush & Optical's first Virus single from 1998

Yuji Ohno is a Japanese jazz musician born in 1941. He's principally known for his musical scoring of Japanese anime-television series, of which Lupin III and the feature film The Castle of Cagliostro are his most well known works. Ohno is also well-known as a member of a jazz trio with bassist Miroslav Vitous and drummer Lenny White. The tracks collected here for Lupin The Third: TV Special are oozing with seventies cool, exemplified by opener 'Theme From Lupin III': the snares shuffle, the pianos tease and the upright bass walks with all the swagger of a French master thief. Great funky tunes from the Japanese jazz master!

It's impossible to talk about this album without acknowledging the spectre of death that hangs over it - not only is it the third entry in Strata-East Records' Dolphy Series, a collection of archival recordings from some of the label's close associates honoring the recently deceased multi-instrumentalist, but it is actually dedicated to two members of the band, Wynton Kelly and Kenny Dorham, who died in between the recording sessions and its release. The point is driven home even further by the fact that the album begins with a tribute from Payne to the fallen Martin Luther King, Jr., a piece that acts as a de facto solo for Dorham - his playing all rosy elegance and regal warmth - before shifting into the lighter (though equally coolly-paced) "I Know Love," a showcase for Payne's sax. While not the most somber jazz track ever recorded, this opening suite is a low-key and mournful way to open the affair, but thankfully the album really picks off and shows these musicians more in their element the rest of the way.

"Girl, You Got a Home" is a funky piece, beginning very soulfully with some tight interplay among the rhythm section of Kelly, bassist Wilbur Ware and drummer Albert Heath. Ware is in especially fine form on this track, tying together the disparate passages of the piece by grounding the more ponderous moments in a deep funk, while Kelly's playing is especially ear catching in the way he stabs at his piano like it's an organ. After the first two tracks take up nearly twenty minutes, the four-minute "Slide Hampton" feels almost impossibly brief, a feeling that's enhanced by its quick, jittery, and infectious rhythm, driven by some really dexterous work from Kelly. The final track, "Flying Fish," may be the album's highlight, a Caribbean-inspired composition that casts the rhythm section as flighty ground for both Payne and Dorham to vamp on. The track is oddly danceable for something released on Strata-East, maybe the most fun moment ever for the label, and relentlessly uptempo. Though this release may be in part defined by the deaths that preceded it, it's clear that the recording process was actually a lot of fun for everybody, as their enthusiasm and energy jumps right out of the speakers. This is one of the first Strata East records I really got into and is still one of my favorites, a must-hear for any fans of the flightier moments of Dorham or Kelly's career, and a fitting tribute for both master musicians.

Matt Flanagan has been making music as DeFeKT, ESS and Tinfoil for the past few years, so who better to put out the debut release on First Cut We decided early on that there was no point in repeating his admittedly fine back catalogue, so Matt went off one evening and did a 30-minute live jam on his machines. There was no real plan, but between us, we picked the three best bits, which you now own. Then we had to come up with a name. Initially, we toyed with the idea of calling it 'FeKT' but then decided that only a local audience would appreciate the joke and that it wouldn't travel well. Octal Step then emerged as the clear favourite. We sealed the deal to release 'Toner Head' over a cup of takeaway coffee on a bench in the Stephen's Green Cente in Dublin. And why is Gunter Walraff on the other side of this sheet Well, he seems like a cool guy. Plus he's German and has a moustache - what's there not to like about that

This is RRR01 :)
Record open on a 160 BPM cruiser... kind of tribe electro techno with a cool suspense melody. Then comes a Banging acidfucker... Finished comes with GIS from LPR : banging dancefloor Hardtek !

Recorded in 1953 and 1954 with a veritable who's who of West Coast cool jazz including backing from Zoot Sims, Bud Shank, Shelly Manne, as well as arrangements from Jack Montrose, and Shorty Rogers, Chet Baker & Strings is a beautiful and airy collection of some of Baker's most sultry trumpet work. The string section perfectly complements the cool jazz quintet backing and makes this one of the Baker's finest and most unique sets. Essential.

Les Disques du Crepuscule present an extended double disc reissue of Shiver, the acclaimed debut album by seminal Swedish artist  Virna Lindt, originally released by The Compact Organization in 1983.

Written and produced by Virna Lindt and Tot Taylor, Shiver offers 12 slices of chic orchestrated pop informed by 'foreign film' soundtracks, movie composers John Barry and Ennio Morricone, Modernist musique concrete and Cold War spy thrillers. The album spawned three singles: Attention Stockholm, Intelligence and I Experienced Love. For the most part Lindt provides the voiceover for her own narratives, occasionally striking reflective poses amid orchestral swells and multi-layered atmospherics; a clear influence on later acts such as Pulp, St Etienne and Air.

This new edition of Shiver showcases acoustically-enhanced mixes prepared by Taylor and Lindt in 1997, augmented with non-album singles Model Agent and Young & Hip, and immaculate instrumental versions of key album tracks such as Underwater Boy and The Dossier on Virna Lindt. The extended tracklist also finds room for a leftfield cover of Windmills of Your Mind, originally written by Michel Legrand and Alan & Marilyn Bergman for The Thomas Crown Affair and recorded for the Crepuscule compilation album Moving Soundtracks.

Cover photography is by E.A. Janes. The 2xCD edition is housed in a 6 panel digipack with a 12 page booklet. The double vinyl set comes in a stylish gatefold sleeve and includes a free digital copy.

Praise for Shiver:  'Eurocentric Virna Lindt casts herself as a mysterious blonde in a loving pastiche of Continental movie music' (Sounds); 'I think of Shiver as Ingmar Bergman's All These Women cast as 50-odd minutes of musical dialogue. Tot Taylor's fantastic orchestrations cast a brilliant pale of modern love throughout' (Fond/Sound); 'Instead of mere cool styles, there's far more here than a restrictive stereotype' (All Music Guide);

French psych duo The Limiñanas today released their new single 'Istanbul Is Sleepy' through Because Music. Featuring Anton Newcombe (The Brian Jonestown Massacre) and produced at his Berlin studio, the single is taken from their 'Istanbul Is Sleepy' EP out 17th November. The band, who are set to release a new album early next year, will play their debut London show at Oslo on 5th October. Directed by Jean Luc Moly, the moody, Sixties-inspired video to 'Istanbul Is Sleepy' premiered on Brooklyn Vegan: link here

Reflecting on the single and their collaboration with Newcombe, Lionel explained, "'Istanbul Is Sleepy' is like the classic dream where you become the hero, the Captain Blood or Midnight Sultan(). The one who rescues and seduces Maureen O'Hara or Ava Gardner. Anton is singing and playing guitar on the track. He was inspired, in particular, by The Cult during their 'Rain' period. Last year, Mojo magazine asked us to record a cover for a special Kinks tribute. We chose 'Two Sisters'. Marie and I were thinking for the vocal part it would be great to approach Anton Newcombe, having opened for The Brian Jonestown Massacre at Le Trianon in Paris. The work began like that. We had an album to record and we decided to finish it with him. During the Christmas week we took our demos, flew to Berlin and recorded at Anton's studio. Six days later we had a finished album".

One of France's most beloved treasures, The Limiñanas are Marie (drums/vocals) and Lionel (guitar, bass, keyboards and vocals). Hailing from Perpignan, the duo straddles the boundary between psych, shoegaze, and yé-yé. With hazy, reverb-laden hooks, combined at times with noisy distortion, and fronted by effortlessly cool vocals, reminiscent of Serge Gainsbourg and Brigitte Bardot, the band is at once timeless and quintessentially French.

Time for some gentlemen cuts - again! Quintessentials spotted some hot european talents and welcomes Kian-T, Replica, Giovanni Damico and Kolja Gerstenberg to the family. Expect some freakyness, some funkyness, some deep basslines and some dope beats. And a lot of coolness. 4 cuts not to be missed! Thank you.

Next up on the main label there is a shureshot by Sebastian Habben himself. With Pasadena he delivers a blinding baseline-journey that evolves into a deep techno track including some heavy dub chords. Not as heavy but therefore even more groovy Montebello present a slightly house influenced dub track that is matched with classic sounding chords and a cool vocal sample. On the remix duty we are more than happy to see our Italian buddy Federico Alfieri join us with a superb dub techno version of Pasadena. Give it a spin!

Grammy-winning singing sensation Gregory Porter - one of the most successful jazz artists of his generation - is back with a new album, 'Nat King Cole & Me', to be released on Decca/Blue Note on 27th October. It is a deeply personal tribute to Nat King Cole - the legendary crooner who ignited Gregory's love of music. It's only natural that I go to the root of my inspiration and where I come from. And that root would be my mother and gospel music and Nat King Cole,' he says.

Recorded at London's AIR Studios, the 12-track album features some of Gregory's favourite Nat King Cole tunes including 'Smile', 'L-O-V-E' and 'Nature Boy'. There is also a Nat-inspired arrangement of Gregory's own song 'When Love Was King', originally released on his million-selling hit album, 'Liquid Spirit'.

For Gregory Porter, the influence of Nat King Cole on his life and music runs deep, a through-line that reaches back into some of his earliest childhood memories, and culminates in the release of his new album 'Nat King Cole & Me'. Gregory explains, At five or six years old, Nat's music filled a void in me. My father wasn't in my life and wasn't showing interest in me or raising me and Nat's words were the life lessons, words of wisdom and fatherly advice I needed.'

Gregory's love for Nat's music blossomed so much that he wrote a semi-autobiographical musical, also called 'Nat King Cole & Me', which premiered in 2004. After the play, I felt a lighter feeling about my father and a deeper appreciation for both my mother and the great music of Nat King Cole,' says Gregory. He also found his voice through his own songwriting - It wasn't until I wrote the musical that I was fit to call myself a songwriter. Before that, I would write different poems but they had no music.'

'Nat King Cole & Me' is the follow-up to his Grammy-winning albums 'Liquid Spirit' (2013) and 'Take Me to the Alley' (2016). 'Liquid Spirit' took Gregory from being the biggest name on the jazz scene to being one of the most sought-after singers around today, performing sell-out shows across the UK and being invited to perform on high profile TV programmes including The Graham Norton Show, Strictly Come Dancing and the BBC Music Awards. He has become an adopted national treasure in the UK, having sung for the Queen multiple times, as well as major music festivals including Glastonbury, where he performed on the Pyramid Stage alongside the likes of Muse, Adele and Coldplay. Gregory's ability to transcend genres even extends to his surprise dance hit 'Liquid Spirit Claptone Remix' which became one of the most popular tracks in Ibiza.

After winning over audiences with his rich and soulful voice, there can be no better time for Gregory to return to the music which first inspired him to become a singer. On Nat's legacy and influence Gregory affirms, He was one of a kind. He left such great music - such beautiful things to listen to that you can't help but be influenced by that extraordinary timbre, style, and ultimate cool.'

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

Finally, the long awaited third part of the EXTRAWELT trilogy on Cocoon Recordings is on the way, and with this advance 12 release of 'Fear Of An Extra Planet (Blackout)' and 'Hail The Whale' we are given an incredibly strong first impression of EXTRAWELT's third Album. "Fear Of An Extra Planet (Blackout)' in particular, has the potential to become a monumental club hit. The title track from the new EXTRAWELT album is, strictly speaking, more than just a maxi-version, it's almost a separate EXTRAWELT remix of the original, fully optimized for the clubs. Arne Schaffhausen and Wayan Raabe have let loose a real bass and drum monster on us. From the very first second, the doubled-up kick bursts from the bassbins to signal the journey into this new EXTRAWELT adventure is underway. The acid-heavy bassline completes the pressure-packed arrangement until the track suddenly stops dead. Sometimes it's just so simple and effective to completely hit the brakes before re-energizing and building up to full speed again. The 12 version of 'Fear Of An Extra Planet (Blackout) 'is a powerful techno bomb and for us - one of the highlights of the year! The exclusive, non-album cut 'Hail the Whale", starts off a little more subdued. However, the cool old-skool cowbell intro with light Chicago house touches soon develops an energy through a driving electro bassline that shakes us from the initial calm. Although 'Hail the Whale' doesn't appear on the album, it perfectly represents the science fiction sound aesthetics on EXTRAWELT's new LP. Sci-fi FX, distorted vocals and dramatic synth lines envelop us in an extremely intense soundtrack atmosphere. From warp speed space travel to misty wastelands on strange planets and breathtaking pursuit scenes, 'Hail the Whale' conjures up all manner of images as it hammers from the speakers. To be honest, the notion of 'grand cinema' has already been used too

After moving from London to Berlin Cromby is back on Tenderpark with his second EP for the vinyl label. The young man recreates our love for Deep House with two sample-based tracks which showcase his ever advancing skills with the old school Akai sampler MPC 2000 XL as well as his cool understanding of mixing haunting melodies with gripping groove patterns. The remix on the flip side comes from Hip-Hop super producer gone House lover Hodini who has collaborated with the talented bass player Chez Kerim for this funky workout. The cover image shot by Achim Valbracht is the start of a new artwork series developed by Tenderpark art director Till Sperrle which revolves around critique of investor-driven architechture that has been dominating Berlin for several decades now. The speciously precious and glittering image displays a normalised and globally standardised kind of beauty but at the same time reveals a strong sense of loneliness. As always both the mastering and as well as the lacquer cut of this record have been carefully executed by vinyl sound mastermind Helmut Erler at Dubplates & Mastering.

REPRESSED !
Bristol based producers Behling & Simpson take on remixing some Kerri Chandler classics this August with the 'Heaven' EP, set to drop via Kerri's very own Madhouse Records
imprint.

Madhouse Records boss Kerri Chandler needs no introduction having been one of the most prominent names in underground house music for over two decades now. While rising talents Behling & Simpson's collective output has been championed by the likes of Claude von Stroke, Derrick Carter, Ralph Lawson, Modeselektor and many more over the pairs 100+ previous releases between them (under various guises), this stands as testament to their undeniable ability to craft forward-thinking electronic music.

First up on the release we have 'Heaven' featuring Christopher McCray on vocal duties, Behling & Simpson's prevalent low-slung, dropped tempo rhythms take the lead, alongside hypnotic lowend tones, while the duo capture Chandler's warm musicality with style utilizing the original's bright chord progressions and smooth vocal licks, creating an intricate, intelligent slice of house. 'Peace Of My Mind' follows on the flip side, a track originally released on Madhouse in 2011, though returning to the label in 2014 with an intriguing reshape courtesy of the Behling & Simpson, again taking on the pair's niche slo-mo feel, setting the tone and radiantly showcasing why their sound stands tall above many of their
contemporaries in such an effortlessly cool way.

An Australian classic rereleased for the first time ever. Born in 1993 when euphoria was still cool Sweetness and Light is the original rave anthem. Dreamy and breakbeaty this has aged like your best bottle of wine. Brought to you by icons of the scene Itch-E & Scratch-E AKA Paul Mac and Andy Rantzen, between them they have remixed the likes of INXS, Severed Heads, LCD Soundsystem, Kylie Minogue, The Presets and Sia.
In 1994 it came 21st in Triple J's Hottest 100 followed by the honours of an ARIA award for Best Dance Release in 1995. In his infamous acceptance speech Paul Mac announced "We'd like to thank all of Sydney's ecstasy dealers, without whom this award would not be possible".
On the b-side we have Motorik's newest festival act For Life remixing Sweetness into 21st century tempos. Perfect to break between your house and techno this 130bpm heavy hitter blew off the dust from the original to shine again.
Brought to you by your favourite party techno label Motorik who cares more about concept then a budget, this is an opportunity which couldn't be passed down. Sweetness and Light represented warehouse culture in the 90s, it was the resistance to authority, the acceptance of all and the beginning of underground dance music as we know it today.

Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music. From the spiritual swing of the early pioneers of modern Samba, to the dizzying hedonism of Brazil's eighties disco/boogie craze, Clareia is a life-affirming journey through the rich and varied sounds Sabrina Malheiros has been immersed in since she can remember. For her most up-lifting and danceable album to date, Sabrina has (as always) enlisted her father Alex Malheiros - bassist of samba jazz-funk legends Azymuth - and visionary London based producer Daniel Maunick (aka Dokta Venom), son of Incognito's Bluey.

Sabrina Malheiros' career has often been characterised by her place in the succession of those special Brazilian women who, with unmistakable talent and effortless grace, have encapsulated the magical energy of Brazil with their voices. Elis Regina, Astrud Gilberto, and Joyce all had it, and Sabrina Malheiros has it in spades.'(MOJO) With her debut album Equilibria in 2005, Sabrina arrived on a wave of instant acclaim, carving out her place as the pioneering voice of a new brand of Brazilian soul music, rooted in the traditions of samba and bossa, but with an edge of contemporary electronic sophistication. Sabrina's innovative nu-bossa sound would continue with the 2006 remix album 'Vibrasons' followed by sophomore 'New Morning' - declared the best album of summer 2008'(Evening Standard), before 2011's best-seller Dreaming.

Six years on, Sabrina returns with Clareia. Itmeans to clear, light, brighten or illuminate, which, after seeing Brazil and the rest of the world go through some very difficult times, is exactly what the writing of this album brought to my life.' All tracks are written by either Sabrina, or in collaboration with her father Alex Malheiros and producer Daniel Maunick. Written and recorded in Niteroi, Brazil, overlooking Gunabara Bay and Rio's beaches, mountains and forests, the music basks in its surroundings and sings of ecological beauty, peace and sanctuary. Echoing Sabrina's emphasis on clarity, Alex notes that the album's title represents an appeal to the minds of our civilization today, to clear our thoughts for good and for peace.'

This pursuit of clarity continued into the studio: It took a little longer than usual' notes Sabrina, which was good in way, as all my previous albums were recorded in rush and we usually had a week for pre-production and another week in the studio, which always gave me the feeling that I could do better. With this album it was different... we took our time.'

Sabrina's unmistakable voice has never sounded better. Packed out with high-octane swinging samba-soul, like the title-track and 'Salve O Mar', the album also features some bottom-heavy Brazilian boogie cuts, like rejoicing album opener 'Celebrar' which harks back to some of Marcos Valle's cult '80s disco output, and 'Sol Ceu E Mar' is a Tania Maria-esque future classic of scorching latin-funk. Mellower moments are found in 'Em Paz', on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being the best guitarist I have ever worked with'. Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers 'Vai Maria' and 'Sandore', come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil. The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros' inimitable (occasionally slapped) jazz-funk bass, giving the album its irresistibly danceable pulse.

Set for release at the height of summer this year, Clareia is an intergenerational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game. The up-lifting compositions, which take inspiration from the stunning natural beauty amongst which the album was made, and the call for the clarity of mind needed to preserve it, are enriched by this special team of some of Brazil's most established musicians. Like the sun breaking through tropical storm-clouds, Clareia is a vessel of joy, as Sabrina puts it simply, I hope Clareia brightens the soul of whoever listens to it. That's the spirit of this album.'

Freshly dressed after a double helping of made to measure goodness, Aficionado size up another summer time smash for the sandal-wearing masses.
Keen to capture the coastal cool of the Wirral peninsula, the label crack out the crystals and summon strange-wave sorceress Brenda Ray for another hit of her interplanetary excellence.
Wandering from new age haze to celestial rays on this tripped out trio, our genre blending genius takes the fourth world into the fifth dimension of psychedelic sound.

Our spiritual journey begins with the chakra cleansing 'Solartude', an out-of-body beauty which bathes us in swirling flute, dreamy chimes and shimmering tape delay before sending us off towards the Orient.
Eastern tones and hushed vocals ride a glistening sequence as this flawless fusion of exotica and dub suggests a medicated Martin Denny stumbling out of Chinatown and into a humid mangrove.

Next stop on the voyage of self discovery is 'Space Dustin', a lunar lullaby for lucid dreamers which sees Brenda spin Fairlight mallets, celestial keys and whispered vocals into an immersive ode to the outer rim. Floating free of space and time, perhaps you too can glimpse the excellent birds.

Over on the flipside and the temperature begins to rise. 'Skip, Hop To Bop' sees Brenda dabbling with dub Techno, setting Basic Channel synths and stirring strings to a skittering rhythm. Dislocated and disoriented we descend into a strange subterranean world of Rothschild parties, Lynchian noir and muffled Techno.
Surrounded by swirling voices, shuffling percussion grabs hold of you and all that remains is to sway.

Officially Aficionado.

Limited repress of the desperately cool super hip post punk mega rarity. With different label so it's different from the first pressing.

The first trunk repress of this classic lost post punk single was way back in 2010. They all sold very fast. The original 7' then shot to £500+ if you can ever find one. And the Trunk 12' repress is now about £50. Three record companies approached Trunk in the last month to repress it, but it was easier just to repress this classic 12' with the original version, a radio edit and three further edits from various underground superstars.

Jive baby On A Sturday Night' is incredibly hooky. It was originally played by John Peel back in the day, but as a privately pressed record with no distribution apart from being carried about ina sprts holdall, it sold just 30 copies.

Rediscovered by Thurston Moore in 2009, this super hip single is now back out with the full original version plus edits and mixes by Lemon Jelly's Fred Deakin, Tommy Stupid and Georges Vert, AKA the Advisory Circle.

The Numero Group's dive into the deep end of America's private press continues. Having battled the witches and wizards of Darkscorch, the outlaws of Cosmic Americana, and traveled alongside Ladies From the Canyon and their Lonesome Heroes, it's time to take it easy.With pop music's volume knob adjusted for deflation in the early '70s, softness begat smoothness. Crewmen arrived from the worlds of jazz, folk, rock, and soul, all peddling a product that was sincere, leisurely, and lofty. A sound that was buoyant, crisp, defined. Sometimes classified as West Coast—and, later, Yacht Rock—the compass points of our Private Yacht expedition are the blue-eyed harmonies of Hall and Oates, the cocaine-dusted Fender Rhodes of Michael McDonald, and the combover strums of James Taylor. Here, at the glassy apex of rock's softer side, 20 strong swimmers are gathered together. An album for both relaxation and reflection, where listeners can enjoy the present, a cool breeze, and a taste of the good life.

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.

Having previously released on Z.I.P.P.O's Fides imprint, 3KZ now bring their powerful four tracker 'Not From Here' on Balans Records. 3KZ are Z.I.P.P.O and Kalean

The Dutch label Balans Records returns with it's twenty-first instalment to the series that have previously seen releases by Mike Parker, Drafted & ROD among others. This time Darko Esser's imprint presents a collaboration between Z.I.P.P.O and Kalean, under their 3KZ moniker. Having previously released on Z.I.P.P.O's Fides imprint, 3KZ now bring their powerful four tracker 'Not From Here' on Balans Records.

'Not From Here' opens the EP with its flowing grooves & eerie pads to create a beautiful techno track followed by 'Nature Of Motion' that offers an astral like immersion to the listener with its haunting melodic rhythms. On the flipside 'Circles' & 'Times' switch up the vibe in a more intense & playful mood, resulting in a finely balanced EP of atmospheric driving techno.

early supposrt
Luke Slater
'Great, thanks.'

James Ruskin
'Nature Of Motion for me, thanks!!'

Marcel Dettmann
'Thanks.'

Kristian / Ame
'Thanks.'

Rolando
'Wow killer stuff here, all tracks are dope!! Nature of Motion is my fav, great work!'

Dj Pete
'Great Italian Detroit techno.

Etapp Kyle

'Thanks.'



Sigha

'Lovely vibes, full of soul.'



Nuno dos Santos

'Beautiful release!! Love all tracks and thats pretty rare.'



Jeroen Search

'Go 3KZ go! A2 & B2 for me, very cool stuff!'



Ontal

'Thank you!'



Orde Meikle / Slam

'Thanks.'



Eric Cloutier

'Another beast of an EP from 3KZ & its always good to get a Balans promo.'



Kr!z

'Nice one, full support.'



Monika Kruse

'Great floating techno, love it!'



Arnaud Le Texier

'Not From Here & Circles for me, thanks.'



Jeff Rushin

'Cool release.'



Jeff Derringer

'I like it, good stuff!'



Mr. Jones

'Nice vibe on this EP. Like the energy and drive in Times.'



Leghau

'Great release. I really like A1, thank you.'



Robert Lamart

'Nice tracks, thanks!'



Angel Molina

'A side for me here. Great, timeless Mills-esque techno stuff, thanks.'



Mareena / Tresor

'Another winner by 3KZ, thanks guys. Holy shit, that ambient tune!!'



Phone

'Total support.'



Limo

'Love these guys, thanks.'



Joseph Capriati

'Downloading for Joseph Capriati, thanks!



Richie Hawtin

'Downloaded for Richie Hawtin.'

Schmer-007 "Smoking is Still Bad for You - Volume 1" is here and contains old school and new cool tracks from all the original Schmer culprits plus some loops from our new friends. Dietrich Schoenemann and Prototype 909 dug their tracks out of their vast archives of unreleased originals. DJ RX-5 and BPMF delivered some hot new Schmers to get us moving again.

For the last 20 years we've all been tormented by the great issues facing mankind and most vexing among them of course was "When will the next Schmer record finally come out" I am happy to say that the answer, my record distributing friend, is NOW!

Prototype 909 demands that you ( redacted ) ... "The Volume"! A track recorded in 1997 and finally getting released for the first time here. Prototype 909 was a "group" from "New York" that made "techno" in the "90s". Since then, the three members of this group all went on to do things. #TrueFacts

Dietrich Schoenemann has been so busy being one of the last men cutting all the records in the world that he hasn't had time to organize his catalog of unreleased gems. I distracted him with the old "look over there" trick and stole "8 Feet" from him while he wasn't looking. ( Hopefully he didn't recognize it while he was mastering it )

The last Schmer vinyl was DJ RX-5 "A Taste for Crap EP" from the then Moscow based very underground DJ Compass Vrubell. Nina Kraviz thought it was so crappy she put a track from it on fabric 91: Nina Kraviz; so I asked Alexey to make some more crap. He did it His Shway and this is the result. ( PS He still has all the patterns for the RX-5 from the original release so remaster, remixes and rereleases are in Schmer's future, HUZZAH!)

BPMF - The original Schmer artist had nothing better to do so he kommt back and gave us this track.

We love to torture the engineer so we just had to include some loops:
Rhizome is the alter-ego of Moscow wunderkind Nikita Zabelin.
Philly based Hero/Victim has been victimizing soundsystems up and down the East Coast with his mad live performances.
The Wise Caucasian is a pseudonym for some super famous London based producer and label owner, or at least that's what he claimed when I picked up his bar tab.

De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He's released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.

While Beau was visiting Brussels he stopped by Maoupa's house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.'Crepes' is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.

All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.

Wizards of Ooze was a Belgian band that released 3 albums between 1994 - 1999 and toured the whole of Europe. The bands sound is a mixture of different genres, combining elements from primarily soul, fusion and psychedelica. On their second album Bambee! the band took it even further. Press-quote: "What can you expect Take the best fusion-band ever (Chick Corea's Return to Forever), some James Brown funk, synth-fun like Tangerine Dream and even a bit of hardrock, and you're getting close. This is Zappa, the Flemish Zappa: cool, nervous, funny, sad, difficult, ... No record for those who love the traditional verse-chorus-verse, and so probably as uncommercial as it can get."

Espen Beranek Holm is a Norwegian musician and comedian, born 1960 and began his music career as a clarinetist. Inspired by early synthesizer bands Kraftwerk and The Residents, he began making experimental pop music. His debut single Dra te' hælvete' was released in 1981 and was immediately banned by national TV/radio channel NRK due to explicit lyrics. This gave the young artist tons of publicity, helping the single spend almost 6 months on the national charts.

Beranek returned to the Starholm Studios in Oslo from June - September 1981 to record nine new compositions. His debut album, Sound of Danger', was released on Mind Expanding Records in November 1981. Nowhere near as accessible as the previous single, the album fared poorly commercially. Withdrawing from the single's fun, kitsch pop, the album is cool and static, driven by thin rhythm boxes, cold synths, and glacial guitars. Taking heavy cues from David Bowie, all of the songs are sung in a nasally English accent, a rare occurrence in Norway at the time. The lyrics are melancholic, but tinged with paranoia. There are also upbeat tracks that evoke a prog or glam sensibility a la King Crimson, Alan Parsons, or Roxy Music.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. Housed in the original jacket featuring red, black, and white lines that evoke a visualized Richter Scale designed by Monica Moltzau. Each copy includes a 2-sided 8x11' insert with lyrics and an autographed press photo of Beranek.

Progression..., like a spark shooting through fiber optic cable or a bullet train churning through the next tunnel, the acid-techno arrangements of Detroit-based DJ/producer Rebecca Goldberg have a velocity to them that's spurred by reverence for the roots of electronic and techno music conceived in her hometown, from the Belleville Three to 'the Godmother of House Music,' DJ Stacey 'Hotwaxx' Hale.

Palpable in the pulse of Goldberg's latest EP 313 Acid Queen is an urgent and inspired, cool and confident sense of picking up a proverbial torch, of propulsion along with preservation, of continuation as well as re-invention. Born vigorously forth upon the blooms and grooves of her synth scores for these five songs is the sharpest demonstration, yet, of her signature sound and vision.

313 Acid Queen reaches to and re-enlivens the traditions of Detroit techno with Roland's contemporary iterations of the 808, 909 and 303 drum machines, quintessential sonic characters utilized by the region & genre's seminal producers. The title refers, also, to the Detroit area's predominant telephone area-code, as she audibly reaches out to touch the essence of her city's distinct and dynamic neighborhoods and landscapes, most evidently with the field recordings from city streets and the animal populace inhabitants in the majestic Belle Isle Aquarium.

These kinetic, contemplative and coolly exhilarating tracks were conceived to carry on the tradition of Detroit acid techno in the contemporary world. Fittingly, Goldberg's first vinyl release comes on March 13t h (3/13), distributed internationally through Detroit Underground, a multidisciplinary arts collective & record label. Goldberg's fellow Detroit producer Ryan McCray has a deep sound and keen sensibility for acid techno all his own; he fell in love with the 313 Acid Queen track 'Aquarium' and remixed it to be an exclusive bonus track for the vinyl release.

Simbad (aka SMBD) is a stalwart of the underground music scene in UK and because of his vast arrays of releases it's very hard to put him into any box or music category. Since his 2007 album Supersonic Revelation & his worldwide acclaimed dancefloor hit Soul Fever, the London based frenchy has been constantly travelling the five continents entertaining delighted clubbers with his super energetic dj skills or producing and recording various artists from many different genres including deeper Dubstep don Mala (DMZ), UK Hip Hop star Roots Manuva, Cuban songstress Dayme Arocena, Detroit House producer Kai Alce, Berlin based deep Techno artist Fred P, Seun Kuti from Afrobeat's most famous family, Brazilian superstar artist/actor Seu Jorge and being production mentor for the king of cool, radio DJ Gilles Peterson (who made him one of the resident at his Worldwide Festivals). With the Moon Theory EP Simbad demonstrates his talent on some deep analog frequencies for the very solid & ever growing label that is Apron Records. As the music wizard puts it himself : 'im just trying to make some timeless shhhhh man, soul in all forms really, trying anyway ! And I guess that the best is yet to come.

Gatupreto release their sophomore "Distino Di Nos Vida" on TINK! Music! The duo from Lisbon's hinterland return with a second round of their impeccable, futuristic theory on modern club music after the acclaimed "Modo Di Trabadja" EP, released in 2015. The tropical taste of Cabo Verde, the cool of that Lisbon dance floor fusionism, the appeal of classic vibes. Tracks too dark and twisted to be called "Afro", too sexy and melodic to be called "Techno", too smart and freaky to be called "House" and too cool and mature to be called "Kuduro", it is simply Gatupreto.
On the A side "I Became Me", deep afro dub with a killer sub bass and endless echoes, starring Portuguese soul and hip hop legend NBC as guest vocalist and a remix by afro Dutch master and fellow TINK! artist Philou Louzolo - who turns "I Became Me" into an irresistible deep house with african undertones.
On the flip side, the dark dramatic stomping tracks "Afrowerk" and "Gatu Di Noti", the first an eerie, irresistible peak time banger, and the later a stormer with sounds from natural Africa, harpy acid lines and an off kilter beat.

Classic house set of 4 tunes with a cool Dub house tune for the finish.

Tekhouse electro shaker, with a cool hardtrance feeling.

'I take my guitar and strum and sing some tings and blow people's mind. But I ain't trying to do anybody's music. I'm doing what I feel' - Shadow

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago's Shadow (aka Winston Bailey) was described as 'way ahead of its time'. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family's initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow's style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur 'Art'de Coteau, who followed their and Shadow's intuitions resulting in a long line of hits.

'The first time we met for me to arrange his music we had a heated argument on the arrangement for one of his songs, I was theoretically correct but Shadow was musically right. Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of "Bassman" a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction, Disco, Pop, Calypso, you name it. His music was different from anything that existed before'. - Carl "Beaver" Henderson, one of Trinidad's veteran producers.

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of 'tabanca' (a word used in Trinidad and Tobago to describe lovesickness).

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like 'Lets get it together', 'Lets Make it Up' and 'Way, Way Out' the album was a commercial flop, probably due to the fact that it didn't sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album's lack of success in his stride with usual aplomb:
'When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn't doing just one song. I used to always have plenty songs at the one time. And be writing music'.

What Shadow didn't realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence.

For this re-release we carried out extensive interviews with Shadow and the musicians and have included as bonuses exclusive photos from Shadow's personal collection and the dancefloor filler tune 'D'Hardest' was added as a bonus track.

Minimalist trippin' techno with an super cool Efdemin Remix