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I started this album simply writing a script, I think it is important that an album has a continuity that gives the album a cinematic sense, basically this must to tell you a story. For this time I chose the topic of: the development of human evolution in the future.'
I find it interesting to experiment with the sound and textures of the classical music, but not with the idea of how to adapt a techno track with classical instruments, I prefer to writing scores from scratch for each of the instruments and adapting synthesizers as part of that orchestra. I think that all this brings us an epic ingredient, that from the beginning I think it was the link between classical and techno music.
Besides the classical music, I have been experimented with different kinds of recording and synthesis, also I created almost all the sounds from zero. I have included different fx sounds, developed it with techniques as morphing and overlapping layers of sound, all to setup the tracks with a complex and rich textures, but with care about do not obtain something pasty.
I worked a lot with the space' in the tracks, trying to place each sound in a particular three-dimensional situation with clean reverbs, also the feeling of tension' is highly significant in this work, but ultimately the most important thing has been to build on a script written -as I said before- so that the narrative is a fundamental part of the album.

Outcast Oddity launch another various artists fro their second release, this time seeing four unique artists take on bumpy, pounding house and techno jams. Melodic, ghostly and totally enthralling.

The debut of Endlec & Euskalraver on Children Of Tomorrow who delivered some proper massive timeless Techno on this last split EP. We saw lately Endlec on MORD & Euskalraver on Raw Surface. Don't miss it!

Roberto Capuano has delivered Drumcode an immense 3 track EP that will blow out the cobwebs and see Roberto step back onto Drumcode with a bang. Lacing each track with pads and tantalising hook lines, Capuano's tracks fire on all cylinders with good use of vocals and drum rhythms.His tracks have a certain swagger that only Roberto can conjure.

Beautifully Designed 1LP, 180g Vinyl Press kit: Following his Extended Play EP on Other People last year, Jream House is the turbulent and spiritual debut LP of Mark Hurst aka A Pleasure. Blending mathematical composition with an unrestrained studio experimentalism, the sound of A Pleasure charts a space where formative influences confront the most immediate performative impulse. Using a process of numerical transposition, the names of personally significant bands and composers are converted into drum patterns. He then lets loose, improvising around these structures with a variety of traditional and unorthodox instruments: bass and guitar, bowed cymbals, drum machines juggled like turntables, blowtorch on aluminium, to name but a few. With his influences as start-points, he builds rhythmic structures literally in their namesake, blasting their hulls with walls of noise, monolithic basslines and any other jam-yielded shrapnel. Despite the chaos and complexity of the process, the results sound neither clinical, nor garbled. The tracks always find their way to an emotive melody or strong groove. Lush guitar strums and yearning keys ride the high-speed beat of Slow Channel", which seems to soar through cloud-cover as one snaking mass. The Order of Things' folds a cosmic guitar-part into a backdrop of heavily side-chained noise. Arthur Russell' features a neck-snapping rim-shot and crushed snare that splash up the bits of an elegiac vocal part. Through violent and idyllic atmospheres, Jream House jettisons its inspirations like landing shuttles, always in search of new ground. These are songs, not just experiments.

Following a summer of fifth birthday celebrations, Tom Trago's Voyage Direct label returns to action with a brand new 12' from Amsterdam scene stalwart Simon Weiss.
Although a new member of the Voyage Direct family, Weiss is no newcomer to the scene. He's previously delivered high grade EPs for Rush Hour, Deepermotions and Home Taping Is Killing Music, and his contribution to First Mission, Voyage Direct's fifth anniversary compilation, was one of the undoubted highlights of that set.

It's that track - the gloriously positive 'Tele-Vision', and it's cyber-house fusion of darting synthesizer arpeggios, Detroit-influenced percussion, and thrusting acid bass - that heads up Weiss' first EP for Voyage Direct.

Dutch veteran and longtime friend of the family Dexter turns in a stunning remix, putting a well-placed boot up the backside of 'Tele-Vision' via speaker-shaking sub bass, kaleidoscopic electrofunk motifs and thumping techno rhythms. It's a stunning re-make, and one that takes Weiss' fine original to even greater heights.

Flip the record for two previously unheard Weiss productions. First up is 'Ghost', a supernatural house shuffler full of alien synths, wayward melodies, intergalactic electronics and crunchy drum machine hits. Weiss flips the script slightly on 'Super Sub', pairing his now trademark vintage synthesizer refrains and tumbling electronics with a heavyweight, bassline-driven groove. It's a sweet and evocative track, but critically also packs a punch.

This sampler 12" contains a special selection of Prins Thomas edits. Includes tracks by The Mackenzie, A Thunder Orchestra, Zazou Bikaye & CY1, and A Split - Second.
Dear Vinyl Enthusiast,
Thank you for purchasing this individual Paradise Goulash sampler 12".
I've cherrypicked 4 very special songs, edited them slightly where I thought they could benefit from it, quality checked the mastering personally and made sure only the highest quality virgin vinyl was used in the pressing.
All audio has been sourced from the highest quality formats available to use and they can (should) be played loud on both big club rigs as well as on your home stereo.
Prins Thomas, 28th of July 2015

The Infamous is the second studio album by the American Hip Hop duo Mobb Deep, released in 1995. The album features guest apperances from Nas, Wu-Tang Clan members, Reakwon and Ghostface Killah. It marked Mobb Deep's transition from a relatively unknown Rap duo to an influential and commercially successful one.

One of the cornerstones of the New York hardcore movement, The Infamous is Mobb Deep's masterpiece, a relentlessly bleak song cycle that's been hailed by hardcore Rap fans as one of the most realistic gangsta albums ever recorded.

This is hard, underground Hip Hop that demands to be met on its own terms, with few melodic hooks to draw the listener in. Similarly, there's little pleasure or relief offered in the picture of the streets Mobb Deep paint here. They inhabit a war zone where crime and paranoia hang constantly in the air.

The product of an uncommon artistic vision, The Infamous stands as an all-time gangsta/hardcore classic.

99.9 is a techno label from Sterling Moss and Stay Up Forever. This brandnew banger features tracks by Sterling Moss & Cyber Symon, Chris Liberator & Sterling Moss, Riino, Mark EG & Chrissi & Sterling Moss

Where Are You Now is the fourth proper album from Italian widescreen dancegaze trio port-royal.

Limited Edition Clear and Cyan Vinyl w/ Download Card

It's been nearly six years since their previous full length Dying in Time (n5MD) and not counting compilation appearances, remix and rarities anthology 2011s 2000-2010: The Golden Age Of Consumerism (n5MD) and the Diamat album that port-royal architect Attilio Bruzzone orchestrated in 2013 port-royal has appeared somehow eerily silent. We now know that they've been very hard at work.

The old adage that good things come to those who wait has never been more true. Where Are You Now spans the six year gap effortlessly with the band's familiar and reoccurring themes ever looming while adding newer complimentary components to their soaring tapestries. Such elements are present in the pop shimmer of tracks like "Death of a Manifesto" and "Alma M." to the more muscular almost industrialized beat mangling included in select sections of "Karl Marx Song" and "Theodor W. Adorno".

To those that may be worried at such additions, they, in port-royal's hands, are now inseparable components with the band's already signature blend of post- rock, dream-pop and dance music.

Rating 4/5 "Independent UK"
This solo debut by Air’s Nicolas Godin explores various elements of Bach, but without slavishly transposing his music to modern instruments in the manner of Wendy Carlos.

Instead, Godin uses themes and fragments from Bach as the jumping-off point for diverse musical explorations. In “Club Nine”, he borrows the “Take Five” rhythm, brushed out behind a cyclical piano figure, stained with resonant Bach chords on vibes and keyboard; and for “Clara”, the husky Latin croon of Brazilian singer Marcelo Camelo swoons over a stately dub arrangement of strings and woodwind.

The seven-minute “Bach Off” is the most dramatic piece, a suite shifting between interlocking Latin percussion, African highlife sax, stalking piano and harpsichord/woodwind interplay; while the blend of music-box, cellos, French horn, pizzicato and vocal pad makes “Elfe Man” sound like an outtake from Pet Sounds. A rich, rewarding indulgence.

Introverted Dancefloor is Bevan Smith, a New Zealander who has released music under names like Signer and Aspen, and who has played in the Ruby Suns and Skallander throughout the last decade. His prior output has been spread over many international labels and has touched on sundry genres (like techno, IDM, folk, ambient) while featuring restraint and sophistication as compositional hallmarks.

As Introverted Dancefloor, Smith has kept those features as guiding principles while allowing a more propulsive low end to dominate the construction of this music, winding up with understated but energetic dance tracks. Gestation, too, is a prominent attribute of this music, though not necessarily an obvious one. Smith started these songs with hundreds of layers, which he then pared down to a few core elements before rebuilding again.

For Introverted Dancefloor, Smith limited himself to the use of two synthesizers, one mic, one filter, and one effects processer. This constraint is not obvious upon listening as the album works across the idioms of electro, Detroit techno, pop house, and leftfield disco, playing with the line between fluid melody and drum machine programming. Each track has a playlist as its scaffolding, Smith's goal being to filter a certain set of varied influences through just a couple of instruments. Metro Area's Miura' (Original Mix) turned into Introverted Dancefloor's Happiness is such a mess/Pipedream.' If there can be such a thing as a subtle banger, then Smith may have earned that distinction here. Take it high' seems to be a constant ascent with its climbing bass and layers of chords, relying on no hackneyed drops or releases for its crescendo. Smith's layering practices show their precision on tracks like Even if you try' and Tiger bones,' in which disparate elements contribute to pointed melodies, an unidentifiable percussive part entering the same expressive plane as a sung line.

One of the record's most striking features is Smith's inclusion of certain elements of a song in a neighboring one (vocals from Pipedream' in Happiness is such a mess,' a synth line from Even if you try' in Always turn your head') to lend a phantasmagorical effect to the procession, blurring the distinction between a track and its reprise. The result is a song cycle wrought from painstaking labor, while nonetheless retaining core values of amorphousness and motion.

Entitas, is the second instalment of Jay Clarke's BLACKAXON imprint, and sees the label boss bring out the big guns in the form of three distinct and diverse cuts. First up is Entity, an autonomic monster which has sweat soaked energy written all over it. It's auspiciously one part deep, and more than double just as twisted. Things are far from linear with Entity, it's mercilessly the sum of it's own parts, and has the hallmarks of a true big room pleaser written all over it. A truly authentic demonstration of the old adage 'It's not where you are going, it's how you get there'. Entity is certain to be reached for by all of the major players on the Techno circuit for a long time to come.
On the flip, Ghosts Of Acid is the Yin to Entity's Yang. A plangent and introspective groove opens up with wispy cymbals, cleverly placed rims, hats and claps. Exploratory and evolving subaqueous acidic forays dare the listener to dive in a little deeper, with the reward being a very proficient and efficient take on the now classic Acid sound.

Existence Through Perception seeks to carry on where the previous two tracks left off. A driving groove and sinister hook lets up briefly midway to a near triumphant fanfare, only to be brought back to it's mischievous overture. A perfect late night/peak time track for DJ's looking to elevate the bar of their set just one more rung higher.

Support From:

(Phase), DVS1, Ben Klock, Answer Code Request, Luke Slater, Norman Nodge, Chris Liebing, Lucy, Oscar Mulero, Speedy J, DJ Deep, Tommy Four Seven, Cassegrain, Inigo Kennedy, Slam, Brendon Moeller, Nihad Tule, Kr!z, Psyk, Jonas Kopp, Truncate, Samuli Kemppi, Juho Kusti, Anthony Parasole, Eric Cloutier, Jereon Search, Moerbeck, Truss, Distant Echoes, Yac (I/Y), Philippe Petit, Thomas Hessler, Randomer, Volte-Face, Fundamental Interaction, Arnaud Le Texier, Ame, Angel Molina, Tensal, Kwartz, Stacey Pullen.
Credits

With releases on established labels like Force Inc., Cytrax, Lo-Fi Stereo, Morris / Audio, Delay or Background, he made his way with his tricky electronic sound. He started his own label, Edit that embraces the concepts of reuse and redefinition. Components are generated, arranged and fine-tuned. They are stripped apart, processed and rearranged. Sophisticated editing techniques enable this process to continue without end. The resulting audio productions become remixes of themselves.

Up and coming Belgium-born activist Philippe Petit, operator of the Knotweed and Decision Making Theory labels, returns to Figure SPC with a delightfully versatile four tracker. Spanning cold-wavesynth electronics, purist club techno and up-building melodic zones, its perhaps Petits strongest effort yet. Capturing a neo-classical, archaic mood in >Mist Solaris Negative Zone Suspended< closes the EP with a joyful, above the clouds journey, lifting up weightlessly into the ether.

Cadenza Records displays a deft touch in showcasing new talent, just as much as it leans on its core of established producers. The 'Split' EP shines a bright light on the musical endeavors of Enrico Gasperini AKA gAs, and fellow Italian, Lino Pugliese. One side of vinyl each, and gAs opens up Side A with 'Rack Attack', its woody hits and scattering hi-hats holding a solid groove whilst gentle keys entwine a melodic touch with a stuttering synth riff that's designed to circulate around the brain. Splashes of cymbals and white noise provide the all important drama as the track rises to a crescendo. Enrico's second contribution, 'Agogo', keeps up the ante with another slice of exquisite house grooves. The inner-city street ambience opening gives way to an undeniably funky rhythm track, incessant spongy stabs and frenzied percussion that makes this one a sure fire winner. Over on Side B, Lino Pugliese gets to flex his sonic palette after recent releases on Cadenza Lab and Memento. 'Banging On Your Door' takes its time to unfurl; a percussive swing not too dissimilar to the Stones' 'Sympathy For The Devil' sets the tone magnificently, as low frequency synth sweeps and distant vocal effects build, the kick drum jolting the track into life with bursts of furry snares and handclaps. More ambient soaked business on 'Aniwama' as Lino forges melodious piano and clanging ride cymbals with low end sonics as the track deconstructs as quickly as it builds, tearing up the arrangement rule books to create a unique cut that can perform as a mood-setting piece just as well as a peak time genre-shifter.

Hot on the heels of killer releases by label heads Ryan Crosson and Shaun Reeves, the latest Visionquest release sees the label turn its head to Deadbeat aka Scott Monteith. The Berlin based Montrealeler has been putting his own spin on house and techno for some time now, putting his stamp on esteemed labels such as Cynosure, Echocord and Wagon Repair. The Jacks EP continues his fine tradition of putting out discerning fare, as he conjures up a new EP package that remixes his classic track, Mecca Drum Track (originally released on Wagon Repair), from 2008. Striking in its many intricate and delicate production wares, it's a polished effort from the outset.

The Jacks EP gets going with the suitably titled ''Berghain Drum Jack'', a suitably raucous and out-there slice of tribal tech that pays homage to the Berlin club and is notable for its banking percussive elements and its propensity for surprises. Starting off on an unrelenting tip, it gets even more off-kilter the longer it stretches out, as the drums become even more pronounced and the baseline finally enters the fray. Dark but dexterous, it's a thrilling track that's sure to more even the most ardent and discerning of dancefloors.

Middle track ''Mecca Drum Jack'' sees the producer opt for a similarlly-inclined vibe, as the drums play a similarly pertinent role. A fitting tool with which to light up your set, it's more dextrous in nature than what's arrived before but another altogether engrossing effort. Rounding off the weighty three-tracker is ''Acid Dub Jack'', which sees Deadbeat really go off on a frankly mental course that's littered with atmosphere from the get-go. Once again, Visionquest and Deadbeat have reminded us why they're both so cherished in the techno world.

Bunny Lee's Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975.The style based around the Philadelphia disco or the Philly Bump ,the sound of an open and closed hi-hat was not necessarily novel but Striker's innovations of bringing a number of different elements into play most certainly was.
Johnny Clarke's interpretation of Earl Zero's 'None Shall Escape the Judgement' not only opens this se but also opened the floodgates for the flyers style.
The story had begun the previous year with Lowell'Sly'Dunbar.
'Sly played the flying cymbals first'....I said to Sly' You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' AND Sly played it before that was with Skin, Flesh & Bones on 'Here I am Baby Come and Take Me' the Al Green tune, when Al Brown sung it for Dickie Wong with the 'tsk,tsk,tsk' sound on the hi-hat,I named it flyers but they didn't know what flyers was!!!'..Bunny Striker Lee
Before too long 'Every tune we put out we put the rhythm behind it' and every Kingston producer followed suit with their own variation of Striker's Flying Cymbals Rhythms...........

Iosefa Manumaleuna, aka DJ Hyperactive, is now back in Chicago after nearly 20 years in LA. Prior to his return, his classic Wide Open track got a serious re-working by Berghain resident Len Faki on Figure. As part of the Droid Behavior crew he released the 25Hrs. EP on Droid Recordings. More recently another DJ Hyperactive classic "Venus" got re-released along with Ciren and Truncate remixes on the "Venus Revisited" EP on Chris Liebing's CLR imprint. 2012 rmarked the return and start of a heavy remix cycle starting with Luis Flores "The Word" and recent remix of Mike Gervais "Churn" both on Detroit based Blank Code, Impact Unit "Dread" on Silent Steps, Manic Brothers "Sledgehammer" on Octopus Black Label, Truncate "31" on Gynoid Audio and the current list of TO DO's is long...!
The first release back in 1997 on 4 Track Records was by DJ Hyperactive titled P.51 and here were are nearly 20 years later and we're going to see the next release again by Hyperactive on vinyl again titled "Black On Black" EP. This EP will be three tracks, 2 which are acid tracks and one long experimental spaced out track.

BACK IN STOCK NOW!! "Volume One is the debut album. It was the only album recorded with original guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep's later work. The image featured on the cover is taken from the Salvador Dali painting "Soft Self-Portrait with Fried Bacon".
Their only album as a four piece of Al Cisneros, Matt Pike, Justin Marler and Chris Haikus

LP repressed for first time in many years.

allmusic
"For all their budding, precocious talent, Sleep's 1991 debut, Volume One, quickly betrays their still quite heavy debt to doom metal forefathers like Black Sabbath, Witchfinder, and Saint Vitus. Driven by Matt Pike and Justin Marler's lumbering mass of low-tuned guitar riffs, Al Cisneros' (still going as Luke here) serpentine bass and ragged screams, and drummer Chris Haikus' cyclopean kit pummeling, occasional highlights such as "The Suffering," "Nebuchadnezzar's Dream," and "The Wall of Yawn" prove less memorable than they are sensorially overwhelming. And yet, ironically, Sleep's rhythm guitars would never again be kept as under control, nor would their leads sound quite as refined as they do here (see the cleaner harmonies employed to good use on "Numb" and "Catatonic," for example). This was probably due to the onetime involvement of the significantly less stoned Marler, who would soon exchange the group for a monastery where he would study to become a monk. Fittingly enough, however, losing the versatility of a second guitarist was exactly what Sleep needed to focus their singular power into a crushing force, and the remaining trio would flourish immediately behind the sheer physicality of Pike's six-string style, as proven by 1993's superlative sophomore LP, Sleep's Holy Mountain."

Emotional Response starts 2015 with a 4 part split (Schleissen) series aimed at highlighting artists pushing the sonic boundaries of electronic experimentalism. Starting with ErB001, featuring Abul Mogard and Harmonious Thelonious.
Emotional Response is pleased to announce a special 4 part, split series of LPs that explores the further reaches of ambient, drone and rhythmic percussion, known here as Schleissen. To start the series is 2 artists long admired by the label. The music of Abul Mogard has stayed pretty much under the radar. Hailing from Belgrade, Serbia, retired factory worker turned drone specialist, Abul has released 2 solo and 1 joint cassette-only albums on Steve Moore and Anthony Paterra's (Zombi) VCO label. A big favourite of the label, Dizziness That Shakes Rivers And Mountains is near 19 minutes of pure, modular beauty. Play loud for full o.o.b.e effect. On the flp, a more well known name in Stefan Schwander's percussion based project, Harmonious Thelonious. First catching the label's attention with a series of drum heavy EPs before moving more towards the dance flor on his most recent releases. On a visit to play the infamous Salon Des Amatuers for the Musiccargo album launch in late 2013, Stefan kindly passed on a CDR of "more experimental pieces" and on hearing these, the idea of Schleissen was first born. 2 pieces of Steve Reich inspired minimalist explorations weld to become an incessant psychoacoustic cycle, melodically deconstructing and reconstructing to create a continuous harmonic movement. A series then created for the more discerning ear, so empty your mind and (un)listen.

* Hospital Records present their latest compilation 'Fast Soul Music' - a welcomed lesson in the art of soul-inspired drum & bass of the high-speed variety. After nineteen years spent building upon it's lounge-core esthetic their extensive library of smooth-rolling sounds is at the ready, now it's time to get retrospective.

* From the work of thirty artists, a carefully selected forty-six tracks highlight the quintessential sounds of soul music in the Hospital Records back catalogue. Not only effortlessly blending classics from Hospital mainstays London Elektricity, High Contrast, Danny Byrd, Nu:Tone, S.P.Y and Logistics but also showcasing the fresh wave of talent that's reached our ears in recent years. The work of Fred V & Grafix, Hugh Hardie, Keeno, Etherwood, Anile, Tokyo Prose and Technimatic showcasing just how prominent soul music is in drum & bass today.

* Accompanying this two-CD collectors item is a perfectly polished mix by longstanding practitioner and newest member of the Hospital A+R team, Nu:Tone. With over two hours of soul-inspired sounds that effortlessly create the ideal soundtrack for any daydream-filled afternoon.

* With a nod back to London Elektricity's '03 classic 'Fast Soul Music' and a look forward to the fresh influx of talent passing through, Hospital Record's latest compilation provides any drum & bass fan with a chance to rediscover those once forgotten gems and dust off the cobwebs from their favourite nostalgia-fuelling drum & bass anthems.

* Digital Marketing: Youtube upload schedule for music and video content on Hospital Records YouTube channel - (260k subscribers), cross promotion exclusive mix upload with UKF Youtube channel.

* Press / Promotion: Comprehensive campaign in-house serving all UK music and dance titles as well as national, regional and student press - Mixmag, DJ, Trap, Notion, Music Week, Future Music, Time Out, Metro, London Evening Standard, The Guardian, The Independent, Dazed + Confused, Vice, The Wire, The Fly, Vice Magazine, Clash. Kmag (interview), D&BA (interview). UKF Website and Youtube Channel. Reddit AMA, FACT Mag TV interview.

* Radio / Internet: Comprehensive in house campain from Hospital Records. BBC Radio1 & 1Xtra support from Mistajam, Friction, B Traits, Annie Mac, Andi Durrant (Kiss), Eddy Temple-Morris (X-FM), DJ Hype (Kiss), D&BA TV Takeover, Rinse FM Hospital Records Show, Hospital Podcast Hospital Records Podcast USA series, Kmag Podcast, Ministry of Sound Podcast. D&BA Podcast, Hospital records Website, Hospital Facebook (262K Likes), Twitter (64K Followers), Soundcloud (48k followers), YouTube (238k subscribers), Hospital Records Mailing List (53k Subscribers)






aG CD 1-7 | Logistics feat. Nightshade and Sarah Callander 'Crystal Skies'
















DISC 2

He is not so easy to find. You have to follow the kilometres of pipes down and along a labyrinth of corridors, to enter in the basement den of Romain Turzi. This once cavernous space has been metamorphosised into a recording studio for the purpose of creating and completing the A & B albums trilogy with the latest LP release: C. Closed off from the world, without natural light and water supply, but full of consoles, synthesizers and old guitars, Romain cocooned himself here for several months to perfect his music and sonically construct the soundtrack that is C, with tracks entitled by nine types of birds, to glide you through this treasure hunt through the complexities of his musical mind.
After Turzi's sophomore album: B, recorded under the Corsican sun, the change of conditions is quite radical. Closing off from the world in a place where you can only do one thing, make music, Turzi was able to gain the greatest luxury within this process: time.

Uncto's seminal 2013 release Pain was an uncompromising exercise in rhythmical brutality amidst a conflux of themes of suffering, industry, man, and machine.
The record now sees itself reinterpreted and reimagined under the auspices of some of the scene's most eminent and accomplished forerunners in what is perhaps, as it arrives on an opulent red double-vinyl format, the label's most ambitious addition to its catalog to date.

Long-time trailblazers Exium first take on 'Dirty Minds' as they apply their unequalled peak-time treatment. While retaining the driving force of the original, the Spanish duo transmute its somber sense of narrative into a singular and infective pattern that unrelentingly maintains its intensity throughout. In contrast, Frenchman Mondkopf's reconstruction is a radical departure from its progenitor, almost as if the merciless titular oppressor ('Schinder') has been injected with an empathogenic truth serum and made to face the toll of his deeds. Serving as his final penance, the resultant insuppressible melodic radiance gushes to the fore as powerfully as his remorse and tears.
Continuing on the second record, Canadians Orphx draw upon the immense and unwieldy cyclicality of 'Judas Cradle' as they deconstruct the torture device into a prolonged yet unfaltering dirge. Harnessing the raw power of the original, they adroitly fuel and layer the modular solemn synths of the drawn-out nine minute epic. Finally, the unequivocal master of industrial cannonry, Ancient Methods (DE), takes on and reins in the unyielding beast of 'It,' leaving the monster not only tamed but fully subjugated to his will. Now capable of executing the most inscrutable order, itsees itself violently degenerated to the barest of elements and recombined anew, with the cadence of its frame shifted and staggered to the striding rhythm of a being more machine than flesh. Providing solace and closure are Uncto themselves, as they complement the compositions with two droning interludes.

Mastered by CGB at Berlin's Dubplates & Mastering, Pain Remixes will be available at fine vinyl retailers

Imagined as a sharp contrast and complement to Funn City's trashy vintage vibes, Darshan Jesrani's new Cylinder moniker sets out to explore the more streamlined, forward-facing side of Startree's vision, while sacrificing none of the warmth or funk of its classic influences. 'Disco Engine' is a futuristic joyride which draws upon late 80s and early 90s techno vibes as much as it does disco and R&B to produce a groove which is warmly insistent, buoyant, sexy and a little menacing. Ruthless, detuned 808 toms and a punchy, round analog bass synth provide a floor you can push the gas pedal to. A greasy, giddy synth rhythm holds the middle down like a session guitarist when rent is due, and ecstatic choral synth pads and vocals by Chelsea Adewunmi soar just above the horizon. Underground dance music with the top way down. Side B's '4-Stroke Dub' works a more DJ-oriented angle around that 808 and juxtaposes parts which do not play together in the original, creating a track which is subtly driving and every bit as engaging. The gorgeous, understated vocal refrain in the middle is a destination you will have been happy to go the extra distance to reach. Startree is happy to present its second release as a continuing statement of its musical intentions and its simple desire for all to have a really good time.

Nach aufsehenerregenden Solo-Releases von Julienne Dessagne aka The Twins und Sascha Funke kehren die gefeierten Techno-Liederschrauber zurück zu SASCHIENNE und präsentieren GOLDEN PRINTS, eine umwerfendes Set von Synthie-befeuerten, Beat-affinen Klanglandschaften mit reichlich Atmosphäre und Spannung.

Es ist eine Art von ungezogener Romantik, die sich durch die aufkeimenden Techno-Szenarios von SASCHIENNE zieht, oft gepaart mit einer täuschend einfach gehaltenen Hookline - die gerne in ein intensives Drama von Reibung und Therapie mündet. GOLDEN PRINTS macht da keine Ausnahme und verwischt von Anfang an die ohnehin flüchtigen Grenzen zwischen hymnischer Elektronik, Cyber-Folk und industriellen Lärmschlieren.

! Irreal, the fth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the group's most experimental and open music yet.



If their last album Era conrmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It's a master class in texture, pace and control.



Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.



track listing:

1.Interpretation 2. I _ O 3. Another Thought 4. Irreal 5. OUD 6. Halcyon Days 7. Mist Rites 8. Navigating the Void



press quotes for Era:



'On Era, Disappears begin to pave a path to transcendence that's a little more varied, grabbing the more anemic sounds of Clinic and Liars, while keeping the forward momentum of their most obvious influences Spacemen 3 and rough-edged Velvet Underground. They know they trade in the business of the past and work within confined musical language, but they play on, middle fingers scratching their eyebrows.' 7.3 Pitchfork



'For Chicago based quartet Disappears, time seems to move at a different, altogether more indeterminate pace. Era is a work of magic; a record you could lose days or even weeks in, without noticing at all.' Drowned in Sound



'It's an incredible mix of legitimately haunting energy and maturity that is really, really hard to nd, and even harder to nd in an exciting form that doesn't come off cynical or jaded.' The Talkhouse



'Era is truly a landmark album for this formidable foursome' -Brainwashed

Welcome to Berlin's best kept secret: 'Hot Pony: The Nightclub At The End Of The Universe'. It's from this fertile womb that 'Royal Athlete' was born. Created as a platform for the 'cosmic-italo-afro-electrofunk-boogie' sound that 'Hot Pony' blends so well, these release's will be various artists only and guaranteed party weapons for cybernetic lovers and space-jockeys. Always limited, always slamming. For this release we present the 'polyrhythmic renegade' turned electrofunk wizard Vexkiddy, his first new music since 2012's Pedantic Romantic on Human Shield, more cosmic nightdrive action from Giallo Disco's Antoni Maiovvi, a beast of a dancefloor heartbreaker from Bill Ambrose and Marika Gauci - the voice of UK Italo, better known together as 'The Dreamers' and finally the first release from Berlin's Dimitri SoEmotional a smooth modern-boogie-workout. Not to be missed!

Soma mainstay Deepchord returns with part 2 of the Luxury Series. This Double A release feature Deepchord's signature atmosphere rich tones and lush environments and also mark a slight upturn in terms of pressing on a more Techno vibe.

Luxury 3 opens as spacious as can be as the dynamic Modell crafts otherworldly pads and haunting tones, driven by muted kicks and driving subs. His effective use of delay and reverb knows no bounds as he subtly shifts synth stabs and background noise through the dimensional barrier, creating rhythms so refined they defy the natural law. His usual percussive wizardry is at work here that, whilst vigorous, retains a light atmospheric feeling keeping fully in line with the melancholic tones of the track. Clocking in around 14minutes, this is Modell as his most immersive.

Luxury 4 has a distinct Detroit heart to it. Those almost instantly recognisable saw waves, moulded by layers upon layers of processing, swirls and evolve and Deepchord slowly works in various elements of the track to unparalleled levels. Fairly reminiscent of earlier, more stripped work, subtle percussion brings things to life fairly quickly as Modell allows the layers of ethereal synths and processing to blend and fuse naturally, creating a cohesive background to which the listener can easily spend hours listening to, every time finding ever so slight nuances to each cycle of the track.

Deepchord never fails to impress with every release and can easily change his style up from previous incarnations based in pure atmospherics to his own unique brand of legendary Dub Techno.

American Intelligence' is Theo's long awaited follow up to 'Sound Sculptures vol 1' and its truly sensational. Huge tip!!!
On this album Theo fuses jazz & soul music with electronic production, making this album sound both futuristic and grounded in the past at the same time. Contributions come from Marcellus Pittman, Ideeyah, Duminie Deporres.

In Musik und Text verschmelzen über alle 11 Titel hindurch Stimmungen, Eindrücke der Sub-Sahara Konzert-Tour von B.Friedmann 2013 und Fetzen von Erinnerungen an eine imaginierte Zukunft. Sie reagieren auf reale "Kpafuca" - "things falling apart" - Zustände afrikanischer Metropolen und kollabieren zu Grooves und Phrasen, die an Chris Marker´s Science-Fiction-Apokalyptik ( "La Jette"/ "Sans Soleil" ) erinnern. In dieser Polyphonie der Un-Orte schwingt auch der Geist reisender Klangabenteurer, zB. der musikethnologischen Praktiker Hartmut Geerken und Roman Bunka (Embryo), deren Visionen und Musik-Wirken sich gegen reduktionistische, essentialistische Inszenierungen sträubt. Gegen jene kulturellen Landkarten, die in die Musik immer wieder zwanghaft hineingezeichnet werden, setzt Friedman auf "Cease To Matter" im intuitiven Modus die befreiende Kraft des Rauschens, der Über-Mensch-Maschinen-Musik, der krummen Beats und des technischen Zufalls-Defekts, kurz: das "Un-gehör-sam" (Johannes Ismaiel-Wendt) gegenüber der normativen Deutungshoheit musikalischer Weltkarten.

Die Stimme des aus Texas stammenden in Berlin lebenden Performers und Vokalisten Daniel Dodd-Ellis wirkte bereits 2007 auf Burnt Friedman´s Album "First Night Forever" (non22). Die Lyrics stammen von beiden Autoren und wurden von Friedmann während der Produktionsvorgänge 2013 bis 2014 mehrfach zerlegt und neu zusammengesetzt. Die Zeile "Sky Is Blue Inside Of You" ist dem 1932 erschienenen Roman "Brave New World" von Aldous Huxley entnommen. Tracks 04 und 09 ("Cease To Matter") enthalten ein Piano Sample Edit basierend auf einer Komposition von Georges Invanovich Gurdjieff (1872-1949).

Bunny 'Striker' Lee's standing in the Jamaican recording business has remained unassailable for over four decades.Known by many aliases including 'Gorgon'.
The legend of the Gorgon originated in Greek mythology some three thousand years ago and has become a common image in art, literature and in Jamaica...Music.
The name actually derives from the ancient Greek word gorgos which means 'dreadful' ,appropriate when one considers that the avalanche of Gorgon inspired records came as a direct result of the influence of the Rastafarian movement on the Jamaican musical mainstream and the dread locked hair of the Rasta brethren was likened to that of the Gorgon sisters.
''About her shoulders she flung the tasselled aegis, fraught with terror...and therein is the head of the dread monster, the gorgon, dread,awful....'' Homer

Dark Entries release the debut vinyl EP from Bézier entitled "Ensconced." Bézier is the moniker of all-live-analog electronic wizard Robert Yang from San Francisco. Enchanted by the Cybernetic Broadcasting System (CBS), Robert started DJing as Robot Hustle, joining the Honey Soundsystem collective in 2007

The second of the Decadub vinyl-only releases dedicates three of its four sides to a volley of woozy and twisted footwork from most of the key members of Chicago's Teklife crew. Side One starts with DJ Rashad and Gant Man's squiggly 303 banger 'Acid Life' and moves onto Taso & Djunya's Darwinian banger 'Only The Strong Will Survive'. Side Two descends into DJ Spinn's bombastic 'All My Teklife' and then Earl, Rashad & Taye's 'Bombaklot' which takes Hyperdub full circle with a yardcore bomb like a 2014 upgrade of the label's early days. Side Three leads with DJ Earl's immaculate diva vocal cut-up of 'I'm Gonna Get You', then moves on into DJ Taye's fizzling R&B jam 'Get Em Up' and the stone cold, warped humour of 'Icemaster' by Heavee. On the fourth and final side, Tokyo-based ally Quarta330 returns to craft 'Hanabi', an epic, uptempo synthesiser jam. Young gun Champion follows with 'Power Cut', its minimal, energetic and militant kicks and bass molded with cowbell and lots of tight edits, before dropping some neat keys and a warping bassline two thirds in. Ikonika finishes things off with the solemn march of 'Tug Zone', opening slow but building in flickering high hats and gaseous cymbals into a track which could have emanated from Battlestar Galactica.

Genesa Records is proud to presend the debut solo EP of the Japanese techno wizard Ducerey Ada Nexino aka Yuji Kondo! Whether as Ducerey Ada Nexino, Yuji Kondo or in the collab-duo Steven Porter (with Katsunori Sawa), this producer and co-founder of the notorious 10 Label imprint, has been making floor shaking tunes for a while now and gaining a lots of attention, proven by appearances on labels like Semantica or Perc Trax. 'Cycles, Children & Islands EP' represents the culmination of his work under the 'Ducerey Ada Nexino' moniker. On board are 3 originals, a remix by the label-head Scalameriya and a digital, 'bonus' ambient / noise track. All of that, beautifully packed on a grey/black marbled vinyl.

Hakan Fridlund (Garonneman) is laterly more known as his crazy Project "FDASFDA". It's 11 years since his last dance-related release came out (as borft 102 -2002) This is "off trend" strange dancemusic with sweet melodies and Magics.

Black White Marbled Vinyl

Following a hiatus of nearly two years, the latest Furanum offering signals the return of solo work from label owner Dominik Muller and coincides with a pivotal tenth release on the label. The Embodiment of Brute Propulsion most notably features for the first time on vinyl robust reconstructions of two the artist's most seminal compositions. Both previously released on UK's Locked Records, 'Eintrachthutte' (2007) and 'Silesian Boy' (2009) have served as stepping stones for the artist's evolving musical vision and represent a raw reflection of the influential period spent immersed in his industrial homeland of Upper Silesia. Audibly modernized and now endowed with a substantially augmented lower end, the two capably maintain the feel and imagery of the originals; the former the impressions of a visit to an iconic location bearing the same name, and the latter a personal exploration of identity in the context of youth.
Also given the wax treatment for the first time is 'Blank,' a previously unreleased piece that has been a mainstay of Dominik's live performances in various forms since 2011. Defined by a recurring and ineluctable pattern, both intrusive yet irresistible, its orphic narrative is subtly driven forward by a series of menacing drones weave their way around a dense and forceful rhythmical panorama. Lastly, the repertoire is complemented by a vinyl-exclusive personal capture of an industrial press shop in operation. Seemingly bare, inanimate, and inexorably bound to its predeterminate cycle of motion, the mechanized landscape stands as a symbolic archetype of the aesthetic ambitions of the label.
Mastered at Berlin's D&M by CGB, Fu010 will be available on 12" as well as in digital format at all fine music retailers.
Words: PSD

Sister Label to Vanguard Sound Anunnaki Cartel plays host to the fourth installment of the Vanguard Sound Series featuring 4 tracks from crew members Dakini9 (Lola), Chris Mitchell, DJ. Spider, and founder Amir Alexander. During the time since Vanguard Sound Vol. 3 launched the Vanguard Sound label, the series has reached a kind of cult classic status among the most dedicated U.S. underground vinyl collectors. As more and more people discover Alexander and his Crew of ultra talented DJ/Producers, their releases on discogs disappear and then reappear for three to five times their original price. Buy on sight status is quickly being achieved by all six members of this shadowy Crew.

The four tracks contained in this release all touch base with the vibes already established by the Crew, while continuing to expand the sonic palette as well.
Amir Alexander's Cypher is classic dirty analog at it's finest. With a slightly overdriven synth baseline leading the way, followed by restless percussion. Midway through, deep and mysterious pads create a dreamy texture as a spoken word passage muses about loyalty to those you came up with.

Chris Mitchell's 213NL raises the temperature with Chris's signature "Phrenetic" drum programming under an SH101type acid baseline oscillating wildly as melodic strings soar.
DJ Spider keeps things gutter with some Vanguard/ Plan B style street knowledge in the form of New World Resistance. An industrial/ futurist tech beat frenzy full of vocals dropping science about the New Word Order's plans for global domination.
Dakini9 closes the release by taking us to the depths and beyond with her deeply emotive work in the form of Rollercoaster to Nowhere. Sci fi atmospherics weave in and out of lushly serene pads while her always deadly serious percussion marks the time effortlessly. Time travel is evoked as the dulcet tones erode all sense of the here and now. Fall into infinity! For the collector's, this one is not to be missed as it is a rare Vanguard Volume on it's sister label Anunnaki Cartel with both logos on one record. Don't sleep..

17 years after first releasing a cassette EP from label boss Marsel van der Wielen under his Peel Seamus guise, Delsin is soon to hit the landmark category number of 100.
Truth is, taking into account choice re-issues and specials such as the recent house series, there have already been scores more than 100 releases. Nevertheless, in that time the Dutch label has become synonymous with a wide range of timeless sounds from house to techno to dub to electronica, nurturing and championing some of the most respect names in the scene.

To mark the occasion, the label is to release five new various artist EPs (100 copies will be special, limited and coloured vinyl exclusively available through the Delsin web shop with a collector's box) that will be compiled onto one special CD compilation come the final release.

'After many different life cycles, with this compilation I try to go back to the core of Delsin, to showcase more otherworldly/dreamy/soulful but still raw techno sounds from a selection of key artists who best represent the label,' says Marsel. 'The tracks are all individual offerings but are tied together with the common themes of the label, and as a compilation will paint a nice overall picture that is not shy of moving away from the dancefloor side of things.'

Across the five EPs you can expect tracks from newbies and old favourites alike, including Sawlin and Delta Funktionen, John Beltran and Bleak, Redshape and Convextion and plenty more. The first - like all of them - features three tracks, one each from Gerry Read, Unbroken Dub and Claro Intelecto.

After considerable speculation since Record Store Day, it's now been revealed that the new album by Boards of Canada 'Tomorrow's Harvest' will be released on Monday 10th June 2013 on Warp Records

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

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

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

After a contribution to Ethereal Sound and a full-bloom debut EP on Mule Electronic earlier this year, "Running In Circles" takes the next step. Two power cuts that melt, espouse and mutate classicist Chicago school of design elements with the post-industrial take of the Live at Robert Johnson canon On a meta-level they even deal with such heavy stuff as reincarnation and the cycles of life and death. Oh, yes! How does that sound As sweet and threatening as a sugar skull, of course.

WE ARE VERY PROUD TO WELCOME MR. MARCO BERNARDI TO THE RAWAX FAMILY!

510 COPIES ON 10 INCH - FIVE EURO TEN - PREORDER NECCESARY!

Up and away / To your journey to the sun / Drink your rocket juice / Fly away (Hey, Shooter).
High up in the skies, amongst the clouds, Rocket Juice & The Moon was born. Literally. It happened back in 2008, when Damon Albarn, Flea and Tony Allen convened on the same Lagos flight, to play and exchange musical ideas in that city as part of the Africa Express collective. Relishing a shared enthusiasm for one another's work, and bonding immediately, there and then the triumvirate laid down the blueprint for Rocket Juice.
Still, more than a year passed before conditions were set for three weeks together at Albarn's West London studio, recording and refining two-dozen startlingly out and deeply funky instrumental grooves. The next stage was to invite onboard some extremely talented friends, with further sessions in Dallas, New York, Chicago and Paris... Erykah Badu, no less, queen of contemporary soul. Three companions from Africa Express: Malian singer Fatoumata Diawara, whose debut album has topped World Music charts since its release last Autumn; her multi-talented compatriot Cheick Tidiane Seck, whose prodigious keyboardism has lit up releases by artists ranging from Youssou N'Dour to Hank Jones; the young, Ghanaian rapper M.anifest, quizzically existential, switching seamlessly between Twi and English. And the Hypnotic Brass Ensemble, long-time stalwarts in the Honest Jon's set-up — since one of the team discovered them busking near the shop in Portobello Road, on his lunchbreak — with a second album for the label due in May... Finally, the tracks were dispatched for mixing to Berlin, to be meticulously honed, polished and envenomed by Mark Ernestus, one half of the legendary Basic Channel and Rhythm & Sound partnerships.
The result is Rocket Juice & The Moon — out March 26, 2012, on Honest Jon's Records — a triumphant exploration and proliferation of kinetic Afro-funk rhythms: organic, exuberant, communal music-making, evidenced by the project's live debut on stage as part of the Honest Jon's Chop Up in late 2011, which hit London, Marseille, Dublin, and Cork to such great acclaim (witness the flurry of smart-phone film-clips uploaded in the days thereafter).
From the inaugural bars — that absurdly funky slice of instructional timekeeping, 1-2-3-4-5-6 — the liquid pulse of Fela Kuti's classic recordings drives the action through a suite of 18 shape-shifting compositions. The greatest drummer in the world has never sounded so good as he does here. His intricate cross-patterns jostle and lock with Flea's nimble, rumbling bass riffs. Joined by Seck on There and Extinguished — 'when you dispose of something burning, be sure it's out' — Albarn's keyboards spray synth fusillades up top, over, and under... splicing into the mess of wires running between the freaked Afro-disco of William Onyeabor and the space-jazz-moog of Sun Ra. The HBE brings extra intensity and drama to Leave-Taking — likewise Flea's trumpet to Rotary Connection — teasing out the haunting melody coiled in the mix.
Where the best of vintage Afrobeat sides sustained their concentrated energies over the course of sprawling, marathon jams, RJ & TM manages something altogether different: the group bottles the idiom into capsules of funk... and real songs. Beautifully buoyed by Erykah Badu's unmistakable vocals, Hey, Shooter brilliantly traverses metaphysical spaceways sans any semblance of noodling. Lolo and Follow-Fashion — featuring the open-hearted sensuality of Diawara's singing, M.anifest's quick, brawny science, and more brass blasts — play like its musical cousins or codas. Indeed, the album's shrewd sequencing creates the composite effect of tracks working both individually or within the context of an extended song-cycle.
The lovely ballad, Poison, is bittersweet and ruminative: 'If you're looking for love, beware the signs / They will paralyze you one by one / Poison, it will only break your heart.' Down-tempo and dubby, Check Out and Worries amplify the range of styles and moods. And by the time of Fatherless — a chugging Afro blues that evokes John Lee Hooker lost in Lagos, one gets the sneaking suspicion there's very little outside the reach of this collective's inventive musical grasp.
There is, in fact, a palpable openness pervading Rocket Juice & The Moon — the sense of a limber willingness to follow creative impulse — right down to how the group acquired its name. When Ogunajo Ademola — the Lagotian commissioned to do the album's cover artwork — dubbed his submission 'Rocket Juice & The Moon', it quickly morphed into the formal name of the project, like trying to hold onto mercury.
Surely, the stars above also approved.

Limited Edition vinyl from the Mass United crew

freshly repressed

It's with the arrival of Looping State Of Mind that you finally realise that, for The Field's ambient techno explorer Axel Willner, the loop never stops. While fans and critics alike point to 2007's phenomenal debut From Here We Go Sublime - included in Pitchfork's Top 100 albums of the 2000s - and 2009's equally stirring follow up Yesterday & Today as standalone points of the Swede's music; it becomes clear that they appear as mere snapshots of what, for the producer, is a continual cycle of revolutions.

Eclipsemusic is pleased to announce the sixth release introducing the talented canadian producer Matt Thibideau. He is
known in Toronto, Detroit, Montreal, & Berlin for having performed with the ikes of Mike Huckaby, Akufen, Richie Hawtin
andreleasing music on labels such as Mike Shannon's Cynosure and Sub-Static with hisnew wave-industrial band Repair..
Tracklisting:

WALLS are a band from London made up of members Sam Willis (of ALLEZ-ALLEZ) and Alessio Natalizia (of BANJO OR FREAKOUT).

Dubsided continue to release bass heavy electro house, and we welcome the follow up EP to Sticky K's previous Dubsided release. 'California EP' is a wonky 4 tracker stacked with all the right elements and surprising hooks.

Check out the mad vocal drops in 4 minutes into 'California', cheeky and a little barmy

Louderbach's long awaited second album Autumn represents another jump in the evolutionary cycle of minimal techno, having developed from the largely instrumental project that gave us Enemy Love into a fully-fledged song based outfit

leicht breakige technotracks

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.