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DOWNFALL is the first album under the name SAITO created by Lena Saito, aka Galcid, and produced by accomplished analog synthesizer guru, Hisashi Saito, aka Lena’s husband. Having descended from a long line of Japanese sword-smiths, the industrial sound of smashing steel is embedded in Lena’s DNA and reflected in her music, however there are also refined, hypnotic tones showing a side with more finesse. The music itself is not scored and is predominantly improvised. Words and vocals are ad libbed as well. Sometimes the machines respond as if through telekinesis, altogether emitting a sound which can be categorized somewhere in the range between modern experimental dance music and something possibly making more sense to enlightened minds a thousand years in the future.




There is a new addition to the forge of talents of Mille Plateaux, a Japanese musician by the name of Saito whose album has been released on the label under the title of Downfall. After a whole series of releases under the signature tag clicks & cuts, there comes out a work, much more suited for a dance hall, that is different in terms of the genre from everything that has been published so far.
Like a bucket of ice-cold water poured over the head, erratic agressive hardcore rhythms pour all over the audience in the first track, interrupted only by grinding noises and minimalistic technogenic clicks.
Downfall won't fail to infect even the most experienced music connaisseur with its out-of-control energy, while offering a wide range of techniques: at times, robotic voices, one second long fragments of looped melodies and many other audio gimmicks.
Lena Saito (that is the author's name) is not afraid of conducting experiments in her chemical laboratory, freely mixing sound reagents without taking any precautions. It feels like, this new chemical substance, that she has been working on so thoroughly, contains quite a long list of ingredients, although its main component is the various rhythm breaks.
The synthesizer part of Red Hammer sounds in the best traditions of the acid style, and the rhythm section is akin to African tribal dances of the future. Downfall is absolutely unrelenting in its concept.
The melody of the composition Nucleosome is a little bit like the melancholic IDM of the 00s, finding itself secondary to the dominating, yet again convoluted rhythmical web meticulously woven by Saito.
This album can be definitely named as a big contender aspiring to start a new golden era of Mille Plateaux, and Saito as the hidden treasure of the label that can challenge even the veterans for the right to be the headliner.

Running the anything goes travelling warehouse rave "Fusion mes Couilles"
Emma DJ and Ishaq have created a unique situation with their party series in Paris. The two have been able to do what not many have, which is create a party environment strictly on their own terms, with no outside influence, no pandering to agents or the trends of the day and no outside money rearing its head trying to influence. This endeavor is no small feat considering the oversaturated and bland nitelife climate over the last years in the city. The result of their hard work, has been a large scale dedicated fanbase that trust them, hands down.

Over these years both Emma DJ and Ishaq had been working independently on their own productions as well, with Emma DJ recently releasing a slew of tapes in a hyperactive, machine gun manner, while Ishaq makes his first appearance on wax here.
On the "Fusion" split lp we get four tracks from Emma DJ on the a-side and four tracks from Ishaq on the b-side...both artists bring their unique takes on modern dance music on each side of the record from gnarled acid, to tweaked IDM, to broken techno, or ADD chopped guitar loop beats, this is a truly unique release documenting the sound of the top crew in the Paris underground.
Artwork licensed from NYC street photographer Richard Sandler

You have reached the Infolines. Tonight, we send you on a journey packin’ east to play in the magnificent halls where thespians and rock & roll once played. ‘The Theatre’ features a compilation of cuts that inspire those who listen to sweat in the soon to be humid weather of Detroit.

Bendersnatch is back again, this time with their funky groove ‘Vice Versa’, tooled as a call to the dance floor with a kick that cuts, and bleeps reminiscent of the second wave of techno. Remote Viewing Party brings us a break beat rhythm joined by instrumentalists Ezuch & Bcota with ‘Outpost’. The duo brings shows us their depth creating an atmosphere that will bring you chills, and tears that you will probably think is sweat running down your face. Newcomer Dev-Lish is joined by Maxlow with their head banger ‘Faith In The Machine, in a collaboration inspired by the Detroit birthed genre ‘sludge’. Evil grinding tones with huge bass and dark vocals will make you want to breath. Last, but not certainly least is Francois Dillinger. This artist has been churning out his art and making waves in the electro and techno communities. He brings to the table ‘Lost Loops’ with nothing short of huge bass, large spatial tones designed to hit all frequency ranges leaving room for the crowd to breath while being taken on a journey.

As always, keep an eye on this space and be sure to call in for the waypoint to the party.

From their early days hosting parties in Oxford through to the huge success of their two-part ‘Everything Not Saved Will Be Lost’ album, Foals have consistently explored their interest in dance and electronica. Now the band chart the most essential remixes from their career so far as they share the new remix package ‘Collected Reworks Vol 1’.

The tracks featured on ‘Collected Reworks’, are a compilation from an eclectic range of artists who have uncovered new angles to Foals’ discography. It includes one of their earliest remixes, from Ewan Pearson who blends Balearic bliss into ‘Olympic Airways’, as well as Solumun’s huge version of ‘Late Night’, which has been viewed over 50 million times at YouTube. Another standout moment is Hot Chip’s inventive interpretation of ‘My Number’.

‘Collected Reworks Vol. 1’ has been launched with Hot Since 82’s brand new remix of ‘Into The Surf’. The tech house producer / DJ behind ‘Buggin’’ and ‘Restless’ subverts the track from its original desolate beauty into something fresh and invigorating. The relentless driving beat maximises its energy throughout its eight minute duration, while its progressive leanings are given some unexpected throwback flavour with ‘80s style sax.

Timeless periods of industrial rhythm: Diarmaid O Meara and Kucera collaborate to release ‘Shadowmen’ vinyl on Gobsmacked Records

Nightclubs around Europe are shut. Even in Berlin, the clubbing capital of the world, nightlife has been reduced to a simmer. “But that doesn’t mean we can’t have a good time and connect via timeless periods of electrifying and industrial rhythms”, said Irish producer and DJ Diarmaid O Meara. Together with long-time Gobsmacked techno stalwart Kucera, the two have dropped their latest vinyl ‘Shadowmen’.

The collaboration has derived from long sessions in the Gobsmacked cavern studios in Berlin. The result: A 12” that is laid out in the style of the perfect rave – with a breakbeat electronica entry that promotes procrastination, freakish, and intensely introverted thoughts created through pulsating rhythms and ghostly frequencies, industrial rave sounds for those moments of release.

Partying is a huge part of Berlin’s identity

By listening to the vinyl featuring a dark rhythm, it becomes obvious that the duo has been heavily influenced by underground techno nights in Berlin, and also regularly sharing the stage together at international events. With the pandemic-mandated closure of clubs stretching through the summer, however, playing gigs and festivals is no longer an option. Hence, illegal parties have sprung up to fill the gap and infuriated some public health officials and politicians, also in Berlin.

“Partying is still a huge part of the city’s identity”, continued Diarmaid O Meara who has been living in Berlin for over a decade and also organising parties all over the city. “Raves are a much-needed way to blow off steam after a period of isolation but we have to consider a more proactive approach, for instance district authorities making public spaces available to party organisers under conditions that ensure hygiene measures are maintained.”

Although there has been no shortage of digital music events either since the pandemic began, clubbing is more than just watching a DJ set. “Rather it’s about the unique space that’s created by artists and the crowd that are pulled together by music”, said Kucera who has been destroying dance floors across Europe with his live sets since 2004. “In times when people are still feeling more isolated than ever, our latest vinyl with the accompanying music video aims to bring a sense of connectedness and community during the lockdown.” The video imagery has been recorded live using Kuceras machine pattern triggering whilst performing the tracks live.

Unwavering dedication to the culture of counter-culture

The name ‘Shadowmen’ reflects the work both artists have contributed constantly and consistently to the scene over the past two decades with unwavering dedication to the culture of counter-culture. The artwork, in classic Gobsmacked style, comes with a tip of the cap to the global elite who have been successfully driving humanity off a cliff. “We’ve thrown a little apparent illuminati symbol in there for those who’ve been confined too long at home and on YouTube for the past 6 months”, said Diarmaid O Meara.

Both artists are working on a multitude of new tracks and events for the post-Covid era. Of particular interest is Kuceras live visual show for Gobsmacked, with visuals triggered from his machine live-set patterns. This is something he has been wanting to experiment with for a long time now and it started to take shape in the form of visual hallucinations of industrial areas and trains he had been filming while traveling across Europe before the world stopped functioning properly due to Covid-19. Diarmaid O Meara has quite a few tricks up his sleeve, including a new politically inspired alias, where both artists will take centre stage in some wacky antics.

"Secretsundaze continue their quest to uncover amazing new music with the signing of exciting young Dominican artist Boundary. At just 19 years old Boundary aka Josue Suero makes music that is brimming full of ideas and influences that belie his young age. The 'Interlazados' EP is his debut release for a UK label.

Taking cues from his fascination with video game music, his first real gateway to electronic music, the four track EP showcases Boundary's melodic sensibilities and ear for a killer rhythm.ALead track 'Opticamente Avanzando' unwinds over 12 minutes of deep, mesmeric melodic, contemplative electronica with hints of 90's UK rave influences.ACheck the grins when the killer bassline drops half way through!A

The glossy melodies, jazzy motifs and hip-tugging bass of 'OP.AV' and the breakbeat house of 'Interlazados' channel more lo-fi, ambient house influences but all sent through that unique Boundary filter. Finally, the brain-warming, hypnagogic, tempo-changing rhythms of 'Planos de Ausencia Casualidad' could be the EP highlight and recalls the work of Lone and Actress.

You could listen to these tracks and be mistaken for thinking this is an artist who has maybe been lost in the throws of extended Villalobos DJ set or the deep pads of old Sun Electric records, but as an artist who is an outsider to the European dance scene, his inspiration comes from closer to home, as Boundary explains:

"For this EP I was interested to see if i could hit close to the feelings i have when I listen to certain video game music, how I could convey the amazing and deep storytelling in these songs. I really wanted them to feel like a ride/adventure. 'Opticamente Avanzando' ('Optically Advancing' in English) for me is like a venture into a machine that analyses a bunch of electronic music genres and it outputs as many different variations of these genres it can, each with their own little quirk/details, creating something unique in the process."

With previous releases on LA based label, Point Records, and Paris' Third Try label (Axel Boman, SFV Acid) Boundary's emergence represents a promising prospect for the electronic music world and 'Interlazados' another essential release on Secretsundaze."

Rian Treanor returns to Planet Mu for his raw and energetic second album "File Under UK Metaplasm". The enigmatic, sweaty energy of Tanzanian singeli and Chicago footwork are juxtaposed with slick, high-def bass weight which sits at the centre of the album. Opening track 'Hypnic Jerks' is the perfect example of this, with crinkled percussive loops cut through by machine-gun kicks and acidic wobbles. Elsewhere, 'Vacuum Angle' takes Sheffield's Warp-ed legacy and brings it crashing into the future, with rhythms collapsing into static and noise but never deconstructing or losing the flow. 'Debouncing' meanwhile folds gliding square synths into rattling dancehall kicks, joining the dots between SND, Equiknoxx and Wiley with a neon Sharpie. "It's using all those formulaic dance structures but just slightly mangled or messed up," he says. "I'm still focused on making dance music for clubs, but how far can you push that before it's just no."

Repress!

Summer's in the air, and with impeccable timing, Bawrut returns with his fourth EP for Ransom Note Records! From ‘Ciquita’ to ‘Rumba’ to ‘Three Sounds’, the Madrid-based producer has been providing DJs with off-kilter dance floor ammunition for years now, amassing a dedicated following in the process. Out 13th September on 12” and digital, the Pronto Arpeggio EP is arguably his biggest and best collection to date. It’s certainly his silliest, kicking things off with a frankly absurd title track. Clocking in at almost 11 minutes, ‘Pronto Arpeggio’ is a prog techno labyrinth of fakeouts, tempo switches, thwacking kickdrums, and huge synths like if Giorgio Moroder did the music for Tomorrow’s World . So yeah, not your average mid-set toilet break tool (although if you want to use it for that, we won’t judge you). ‘Shooreee’ is classic Bawrut with a psychedelic twist, like spiking your own Negroni with mescaline. This sweaty, slow-burn acid weapon bides its time before erupting into a potent payoff. ‘Atchu’ carves its way through laser bleeps and dub FX, built around an unforgettable vocal sample that’ll be lodged in your skull for months whether you like it or not.

When it came to the remixes, we thought it was only right to enlist some of Bawrut’s biggest supporters. KiNK chisels ‘Pronto Arpeggio’ into a vlean slab of high-velocity machine funk, while Ruf Dug teases out the gentler side of ‘Shooreee’, resulting in a melodic track that feels tailor- made made for Mediterranean sunsets.

Bawrut absolutely ruled the festivals in 2018 with ‘More Cowbell’ and we’re expecting more of the same this year as he continues to go from strength to strength. Forza!

Legowelt has been a key figure in the Dutch electronic music scene since the early nineties, steadily relea­sing timeless music that merges the pioneering sounds of Detroit and Chicago with idiosyncratic sci-fi fascinations. "Unconditional Contours" captures Legowelt's stint at the Swiss Museum for Electronic Music Instruments (SMEM), after he was invited to be the first artist in residence at the institution's "Playroom" project.

Legowelt visited SMEM in Fribourg, Switzerland, in early 2019 to explore the collection and record music. Possessing an extensive collection of synthesizers himself, he used hand-picked synthesizers from the museum's archive: the rare Farfisa Synthorchestra, the EVS-1 Evolution, the "shittiest rompler ever made", amongst many others. The 10-track album "Unconditional Contours" is both a probe into the vast collection of SMEM, and a display of Legowelt's well established composi­tional qualities. Leaving ample space for new sounds to unfold, Legowelt invokes gentle trips, brooding excursions, bleep heavy soundscapes, and reimagined elements of dance music classicism.

SMEM and -OUS are launching the "smem+ous" series to document the "Playroom" residencies. A limited edition of this album was already sent out to early supporters of the "Playroom". Founded in 2016 and based on a collection of more than 5000 synthesizers, organs, drum machines and effects that had been collected over a 35 year period by Klemens Niklaus Trenkle, SMEM offers residencies, studio sessions, talks and workshops.

The first vinyl release of 2020 on Nang, belongs to the Parisian producer and newcomer to the label, Kelton Prima. The veteran artist has been producing and Djing since the late 80's, also releasing under the alias of D_Tekt. Prima has released on the Belgian label Disco Praline, Chicago based imprint Mathematics Recordings, Pizzico Nobel and also has contributed remixes for Thieves Like Us and Plastique de Rêve among others. Along side him on this release features Hard Ton, the Italian artist, who released previously on NANG188. The duo deliver a cover version of Culture Club's 1983 hit, Miss Me Blind. The release sticks with a retro aesthetic, yet given a modern high impact make-over and features 4 edits.

The "Miss Me Blind" original takes you you on a voyage, straight to a dance floor worthy of the infamous New Dance Show in the late 80's. The upbeat, nu-disco grooves, with Solid bass lines (that later trans into squelchy acid affair) are counter balanced with Hard Tons sublime vocals. The Vintage drum machine sequence is perfectly matched with shimmering synths and guitar riffs.

Second on the release is the The Caribbean House "Vision". This edit takes things a little deeper with a modulating bass arpeggio, that pans across the stereo field. Spliced and pitched down vocal cuts feature in this version alongside chime bell melody and pads that creates a emotional ride.

DJ Rocca, the Italian producer a Nang Records regular, delivers a rhythmic and percussive remix. This is classic Rocca style with retro drum machine programming, and a variety of smooth and silky Italo synth patches. The final edit of "Miss Me Blind" consists of Club Domani's bouncy, bass heavy club version. This upbeat and energetic remix keeping things rolling with break-downs and snare filled drops.


b 02: Miss Me Blind (The Caribbean House Vision) feat. Hard Ton
[c] 03: Miss Me Blind (DJ Rocca Italo Vocal Remix) [feat. Hard Ton]
[d] 04: Miss Me Blind (Club Domani Remix) [feat. Hard Ton]

Following a stellar run of recent releases including best-of-year EPs from the likes of DJ Plead and DJ JM, Nervous Horizon are back with their first record of 2020 — a unique new collaborative EP by object blue and label co-head, TSVI. Out on September 25th, ‘Hyperaesthesia’ details four sweltering new club tracks — described by the pair as “body music” — that mesh together object blue’s widescreen, experimental club tones and TSVI’s borderless percussive styles. “I was curious to see how TSVI and I could merge our sounds, whether we could supplement each other without eclipsing one another, and I'm so happy with the result”, explains object blue. “I never thought I could write with somebody else but this happened so easily. It's been a liberating process, just a pure pursuit of fun, yelling in our chairs when we dropped the beat.” Inspired by ‘ever-present conversations about machines and sentience’, the EP’s mechanical crux plays out in the narrative of the tracks too; from a sense of machines ‘waking up’ on near 8-minute opener ‘Thought Experiment’ to the frantic, processing energy of ‘Turing Machine’. The record also comes complete with a special remix by Loraine James and vinyl-only bonus track, ‘Syntax’. ‘Hyperaesthesia’ follows a fruitful 12 months for both object blue and TSVI: Following the release of her breakthrough debut EP, ‘Do You Plan To End A Siege?’, for Tobago Tracks back in 2018, object blue has since become one of dance music’s most crucial new artists. As well as releasing her third, critically acclaimed EP last summer (‘FIGURE BESIDE ME’), she’s turned in remixes for everyone from Murlo to Seb Wildblood, been invited to record a BBC R1 guest mix for Benji B and performed live at Paris Fashion Week, after composing the music for Andreas Kronthaler for Vivienne Westwood SS20. object blue was also announced a SHAPE artist for 2020 earlier this year, alongside artists like Afrodeutsche, Rian Treanor, Jay Glass Dubs, Oli XL and more. TSVI’s upward trajectory shows no sign of slowing down either. From the release of his enchanting debut album ‘Inner Worlds’ in 2018, he’s since gone on to put out a series of game-changing records under his Anunaku moniker for both Nic Tasker’s AD93 label and Martyn’s 3024 imprint, including July’s ‘032’ — a joint EP written with DJ Plead. Alongside fellow co-heads Wallwork and Federico Ciampolini, he’s also overseen the rise of Nervous Horizon since the label’s inception in 2015, moulding it into of the UK’s trailblazing new-school dance labels.

A trippy machine for some, a warmchine for others... I.N.D. Melodies melt down in a perfect way with the 1NC1N ones. Both are very into thins kind of classical background... With I.N.D maybe we have a bit more of beat experimentations, kind of a light kicker, maybe less technoid, what 1NC1N totally capture for a better dancefloor effect. Superb tune motivating and clearly.. again... thanks for the visual !

Minimal Wave is honored to present a reissue of Jyl's self-titled full-length album from 1984, originally released on Klaus Schulze's Inteam label. Born and raised in California, Jyl travelled to Europe in her twenties to dance and met several talented and like-minded collaborators along the way. She ended up in Germany, and worked with Ingo Werner, Angela Werner, and Klaus Schulze, on what would become one of the most important and forward thinking electronic albums of the time. Shortly after its release, the song "Computer Love" became a mini-hit along with the album's opening track "Mechanic Ballerina". The lyrics of "Silicon Valley" and "Computer Generation" are reflective of the times and have become even more relevant now, 36 years later. The production and song arrangement on the album is immaculate. The synthesizers, drum programming and vocal contributions complement Jyl's voice perfectly. The album contains an incredible depth beyond a regular dance album likely due to the spirit of the people behind it - the list of contributors add to its significance and near-mythological mystery.

Senthulà is one of the many aliases of musical jack of all trades José Guerrero, a long standing figure in the already rich underground scene of Valencia. In this solo excursion he explores the vast possibilities of mechanical repetition, the machine funk of dirtbag rhythms and proper boogie DIY synth music, sculpting a syncopated sound that is both modern and atavistic. Coming from a deep knowledge and ability to communicate very diverse sounds, slow jams unfold into dance music for clear eyed lounge lizards for whom sleaze comes not dizzy but focused. Whitened african rhythms beat up no wave disco pleasure points, managing the hard task of being very cool and nonchalant, but also hot and dedicated.

This closed door nightclub music will appeal to fans of the new developments in dance music that put Cabaret Voltaire, impLOG or Orchestre Poly-Rythmo de Cotonou into XXI Century basements. The record comes also with a killer remix by Tolouse Low Trax, probably our favourite producer in modern rhythmic music.

We welcome to the Moustache Records family the oldskool electro legend Martin Matiske with his Electronic disco-ish 12 inch EP release "Robotic Theatre" This is a future vision of a theatre run by robots and is the era in which machines entertain mankind. Operas are written and played in a mechanical way. The pieces of "Robotic Theatre" deal with different terms of stage work. Track A1 is called "Acting Faces" and Refers to the rehearsing of the role, as well as the interaction of the actors on stage. The well-being of the actor does not often match what is played. He has to play even If it's painful. B2 is the track called "Machinery" Human beings are machines that build machines today. The advantage is perfection and time saving. Robots as actors are reliable and precise. B1 listen to the name "Transistor Dances"its Like The Hungarian Dances by Johannes Brahms you just need a dance to express happiness and remind your culture. Dances bring people together. A robotic dance should not be missing in a play. The last track of the EP is the tune "Practise" a story about a robot the has to practise to achieve perfection and it is fun." Don'tplay this underwater order now gone is gone.

Chromatic acid dancefloor pearl ! Must Have !

…»Welcome to another polymeter dance! Feel free to express yourself, subordinate to any measures and cycles you prefer, there are plenty for everyone and any purpose.
Every track represents a variety of rhythmic possibilities for any part of the body to communicate with. This allows you to resonate with the universe, but please always care for the environment!
The dunning voice of today will introduce to you the core issues of tomorrow. As if a paralyzed mankind would not be able anymore to speak out the inevitable, a posthuman being has taken over. This entity is the master of ceremony who conducts an array of machines that will take further action to communicate, supported by complex
polymeters. The repetition of measures and cycles of different lengths reflect the repeatedly pronounced statements of a narrative of awareness.
Where music visionaries once celebrated the transfer of human creation into machines, Chris Korda’s machines are creators themselves – creators of a safer dance into the future. The machines speak to you with a sparkling, funky tone to gain your confidence. Here are the rules of interaction: 1) Humans may not injure these
machines or, through inaction, allow a machine to come to harm. 2) Humans must obey the orders given by the machines except where such orders would conflict with the engagement in environmental issues. 3) Machines must protect their own existence as long as such protection does not conflict with the engagement in environmental issues. Take care and enjoy the future!

We're glad to be back with our latest reissue, a couple undercover soul gems from the Midwest originally self-released in 1984: LaVerne Washington's "The Promise" and "I Found What I've Been Searching For".

LaVerne has dedicated her life to the arts in every possible way. As an artist herself but also behind the scenes, helping and supporting her contemporaries fulfil their callings. Charlie Parker, Count Basie, Ella Fitzgerald, Mary Lou Williams - LaVerne grew up in Kansas City listening to the all time jazz greats, and soon discovered she was blessed with a keen sense for playing music by ear, playing the piano to what she would hear on the radio. In her teens whilst the 60s transitioned to the 70s' disco and funk era, LaVerne was there to witness it all, and she would go on to study music at the Charlie Parker Academy where she was inspired to become an entertainer.

At Langston University, LaVerne kept studying music where her career blossomed, founding and touring the US with the gospel group "Emery Shaw and the Voices of Praise", singing in several college bands and with her choir "The Voices Of Bethel". LaVerne would go on to perform notably with her bands "LaVerne Washington and Rococo" and the "LaVerne Washington Quartet", and record several songs in KC including "The Promise" and "I Found What I've Been Searching For" in 1984 before moving to Washington DC.

In DC, LaVerne was offered a position as a Program specialist with the National Endowment For The Arts where she started supporting other artists through her work. Over the next couple decades, LaVerne became an associate producer for the Rhythm and Blues Foundation and the Pioneer Awards Ceremonies held in New York, Philadelphia and Los Angeles, which saw the likes of Prince, Aretha Franklin and Jerry Butler attending among others. She has also managed and was mentored by DeeDee Sharp and consulted with artists including Bonnie Raitt (who acted as a mentor to Laverne as well), Kim Weston, Kathy Sledge (SisterSledge), Smokey Robinson and G.C Cameron (Spinners). During that time, LaVerne has kept singing, on her own and as a backing vocalist for DeeDee Sharp and Freda Payne and has never stopped her lifelong dedication to music and the Arts.

The Promise original 7" was LaVerne's last recording in Kansas City before her move to DC and the beginning of her involvement behind the scenes. Channelling her gospel roots - with impeccable arrangement, a contagious drum machine led rhythm section, soaring vocals and relatable lyrics, "The Promise" is guaranteed to bring back smiles to dancefloors and living rooms alike! "I Found What I've Been Searching For" on the flip is a beautiful soul ballad which really showcases the strength and emotion in LaVerne's voice.

Back again in it's original 7" format, we've had the audio transferred and restored from the original 24 track tape provided by LaVerne, and got the recordings re-mixed for the best possible sound! Floating Points behind the mixing desk for this new iteration of a lost classic, comes with a 14"x14" poster of the original picture

Appearing on Echovolt for the very first time, Vancouver-based producer Wolfey offers up a four-track excursion that draws direct inspiration from the often-rainy climate of his sleepy home city.

"Powell St. Blues" E.P. is a dance record of rare emotional depth that sees the Canadian bring out an impressive amount of warmth and soul from the machines he uses to make music. Drawing inspiration from early house and techno producers out of Chicago, NY and Detroit, Wolfey likes to work with a small selection of synthesizers, drum machines and outboard effects processors - only using the computer to record, edit and mix-down long multi-track takes and improvised jams. The resultant tracks bristle with vivid detail and texture while evoking distinctly hypnotic and alluring atmospheres.

Side A opener “Powell St. Blues” is a bittersweet melancholic chunk of deep house with spacey chords and subtle acid style motifs slowly undulating over dusty drum machine rhythms. Wolfey’s deep and emotive electro influences come to the fore on “No Fun City”, where tech-jazz style electric piano motifs, bleeping lead lines and dubby rhythmic delays dance around a tactile 808 groove. On languid B-side opener “Overcast”, aural storm clouds gather menacingly above a moody bassline and the crunchiest of machine rhythms. S.M.P (Slim Media Player) guests on the EP’s lusciously loved-up conclusion, “Southlands Transmission”, where morphing synth arpeggios, rich sunrise-ready chords and swinging skittering hi-hats recall the pitter-patter of rain on the windows of Wolfey’s Vancouver studio. It’s a fitting conclusion to an atmospheric, mood-enhancing EP.

2x12"
Radio Matrix returns! In the strangest of times a somewhat prophetic message reached us. A message delivered by Immediate Proximity, a collaborative project by Diana Napirelly & Niels Luinenburg, known for his output as Delta Funktionen. Their message comes in the shape of an album called '2334'. It covers nine tracks that perfectly act as the soundtrack for our society during COVID-19 times. With tracks and titles like The Apocalyptic Techno Cult, Broken Ether, Clone Morph or Skynet Skanner, we find our self on the brink of a new era where machines and algorithms have taken over humanity. Metallic beats kick hard and eerie melodies are placed against rhythms that remember us of ancient tribes carrying out ritualistic dances in order to try to escape the machine world. Fortunately, behind this somewhat dark and apocalyptic mood a strong statement appears and calls for hope and experience. It gives the listener a path to look beyond the horizon. This release is limited to 150 copies. Printed on 350g incada silk paper with high UV gloss varnishing. Includes a sticker sheet.

Linda “Babe” Majika’s insanely brilliant Don’t Treat Me So Bad is a tight six tracks of blistering electro-flavoured bubblegum and synth-drizzled solar-powered machine-funk. It has become increasingly hard to find, with copies currently moving for over £200. But this is definitely a case of eye-watering price equalling heart-thumping quality.

Once of the Hot Soul Singers, Don’t Treat Me So Bad was Linda’s debut LP as a solo artist. It was produced by Ace Mbuyisa of boogie-funk maestros Freeway and was originally released on Umkhonto Records in South Africa in 1988.

The enormous “Let’s Make A Deal” is probably the best known track here, and it’s definitely the best one if you ask us. Linda’s vocals drip with attitude over warm, breezy synths and an urgent, edgy electro beat to create a timeless club-ready bomb that sounds as fresh as ever. But the rest of the album is far from filler.

Opening track “Kunzima (Tabalaza Mjita)” instantly brings the sunshine vibes, strutting out the gate with that unmistakable South African steppers groove. It’s a deceptively simple song, with multiple instrumental elements arriving and taking leave with admirable restraint.

“It’s Our Home” is a powerful showcase for Linda’s vocals, enhanced by some life-affirming call and response backing vocals throughout. In fact they’re a joyous presence on the whole album. The insistent pipes and swirling, bubbling synths of title track “Don’t Treat Me So Bad” follow. A spacious proto-piano house banger that closes out the first side in phenomenal fashion.

Arriving as track two on the second side, “Unga B’Omthemba Umuntu” has the unenviable task of following the huge “Let’s Make A Deal”. It does the job with class, bringing the tempo down to a mid-paced tropical bounce with lilting harmonies and welcome traces of hi-life guitar. Wonderful stuff. “Playboy” is is another unbeatable head-nod groover rounds out the set wonderfully. That bassline high in the mix is to die for, and the chorus will make any dancefloor smile.

As ever, Simon Francis on mastering duties elevates this release, adding heft and elegance in all the right places with his customary deft touch. The memorable cover art, in which Linda appears straight out of the 1950s with her polka dot skirt and butter-wouldn't-melt pose, has been faithfully restored. But don’t let the innocent styling fool you - Don’t Treat Me So Bad is the work of one badass woman who can hold her own, and then some.

Semi live machine sessions riddled with heavy kicks, breaks samples, distortion buzz & pedal hums all fed through a 1970s Pioneer SA-7500 Amp & recorded onto cassette tape before being pressed to 100 x 12" for Palais de Danse's fourth EP.

Middle Name Dance Tracks Vol 1 is the second release from Sampology’s new imprint. The Middle Name Dance Tracks project reflects standout live & club nights in Brisbane of recent years, where there has seen a steady cross pollination between the club and soul/jazz communities. The blurred line between these two musical worlds has delivered an array of diverse and joyful events for both artists and avid music fans.

This project is a collaborative creative effort between Sampology, Megan Christensen and Sam Stosuur. The recording process was live in nature with Megan on piano and keys, Sam Stosuur on bass/bass synth and Sampology on MPC drums and programming. Having live conga & timbale from Brisbane based Latin percussion staple Gus Cereiji glues the groove together. These sonic choices were inspired by listening to NYC early 80s disco labels, especially Prelude 12" releases, which balanced drum machine & synths as well as live studio musicians. Vocals on 'Only Joy' were recorded by Kerry Raywood. Vocals for 'Bless' come from Brisbane jazz vocalist Merinda Dias-Jayasinha. The combination of the Middle Name Dance Tracks trio and the additional Brisbane artists offers a specific music palette that’s live in essence, dancefloor in orientation, and magical in delivery.

Middle Name Records Dance Tracks Vol 1. artwork was created by artist Sue Poggioli, Sampology’s mother who also created the artwork for the 2016 Natural Selections EP.

Society of Silence is a duo that became involved in the French electronic scene for a few years. They are already known for the wide range of style explored on several French labels and the power and spontaneity of their lives. Too Many Daddies is the ninth release in Activities Record's catalogue, following some previous releases by The Acid Mercenaries, Silicon Vallée, LL321 and two VA's. It is also the eleventh EP of Society of Silence.

Too Many Daddies is a like-minded electronic space saga with strong emotional textures, between hard key sweeps and dark harmony. This record kicks of with A1 Hormone Database, which is a strong funky electro track with a powerful ongoing groove. A2 Iron Penis is a hard hitting acid and hypnotic driven techno track. Undoubtedly another dance floor friendly stomper. B1 Octomom is at the edge between electro and techno. This track sounds paranoid in a very good way. A great nasty dark track with some of freaky vocals in the background. B2 Baby Cluster is a true electro track which demonstrate SOS's penchant for experimentations or No Future, or both...

Too Many Daddies is the evidence that the French duo adeptly understands the language of the machines.

Denise Rabe has quickly attracted attention with her distinctive approach to techno: powerful percussive force, detailed sound design, and slowly modulating compositions crafted to induce dancefloor hypnosis. Following acclaimed releases on Arts Collective, Stroboscopic Artefacts, and her own Rabe label, Denise joins Blacklabel Distillery with a new 12” that digs deep into the hypnotic dimensions of her sound. “Brilliance” is a shimmering monolith, serpentine sounds woven through head-nodding beats. “Outta Body” delivers on its promise of transcendence with slowly evolving drones unfolding over a driving rhythm. Perc brings things back down to earth with a relentless remix that conjures images of malfunctioning, mutating machinery, while Sverca freezes “Brilliance” into suspended animation, captivating with just a few layers of sound. The digital tracks highlight Rabe’s exceptional compositional skills, exploring subtly shifting alien soundscapes on “Spacetrouble” and mesmerizing with the massive cosmic sounds of “Fully In”. Track list 12″ A – Outa Body AA – Brilliance B – Outa Body (Perc remix) BB – Brilliance (Svreca remix)

'Prole Art Threat' is producer Anthoney Hart's second LP for Planet Mu under his East Man alias, after 2018's well received debut 'Red White & Zero'. It brings together a set of MCs from all over London, Darkos and Eklipse from East London and Lyrical Strally from near Feltham who were on the first album, Ny Ny and Mic Ty also from East London, Streema and 'Vision Crew' member Whack Eye from Lewisham plus Fernando Kep, an MC from the burgeoning Brazil grime scene. They work across a cohesive set of tight riddims forged from thoughtful amalgams of grime, dancehall and drum & bass. The album takes its name from a Fall song/mission statement of the same title, the band being self-consciously working class and led by a brilliant autodidact in Mark E Smith. East Man relates that the title is to be taken as “a reflection of working-class creativity and how the establishment marginalise us and (perhaps on a subconscious level) see us as a threat.” Les Back, author of 'The Art of Listening' and 'Out of Whiteness: Color, Politics and Culture (with Vron Ware)' contributes liner notes to the record: East Man understands the force and the democracy of the mic. Listening to Prole Art Threat is like being at a dance. As the mic is passed between each of the MCs, a different tale is ‘elevated... off the map’ as Ny Ny puts it. We hear instalmentsfrom Forest Gate, Lee, Lewisham and Manor Park as these ‘lyrical gaffers’ and ’top boys and girls’ tell tough stories of life under the scrutiny of the ‘Feds’ in a brutal and divided city. The bars and rhymes document what it means to live here; from the double standards applied to the sexuality of young girls and boys to the corrosive violence of everyday life. All this is dissected without compromise. This is not just aLondon story though, the inclusion of Fernando Kep from the burgeoning Grime scene in Brazil is evidence of the outernational reach of the music. The tracks on East Man’s album explode the wilful ignorance of those who see ‘the working class’ in contemporary London as code for whiteness. This is the sound of a proletarian urban multiculture, made from Caribbean and African influences, sound system culture, pirate radio and the inexorable rhythms of Grime, Drum & Bass, Techno and Dancehall. It is the stirring of the "white" & "black" working classes who are living together and coming together on their own terms in sound. ‘Making music because you love it... what the fuck else could you do?’ as East Man says. The tracks and voices you are holding in your hands are, as a result urgent, vital, as hard nails and twice as sharp.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno.

Belgian techno wizard Cri Du Coeur is back with a new 2-part vinyl release on his label Arkham Audio titled 'Erickson' & 'Erickson on Acid', which features remixes exclusively from French artists. Jerome D., the man behind the Cri Du Coeur alias, is prized in the industry for giving platforms to Belgian and French artists throughout his career, so it comes as no surprise that he is showing his francophile roots by having a solely French lineup for the remixes on this release. Following the recent release of his EPs 'Diaphragm' and 'Warning', and now bringing us the inebriating 'Erickson' & 'Erickson on Acid', Cri Du Coeur has established that his new alias and freshly-founded but tenacious Arkham Audio label are a force to be reckoned with. The entrancing yet adrenalizing sound that he has adopted shows that his approach to industrial electronic music knows no boundaries or compromises.

The first part of this release features the original mix of 'Erickson' by Cri Du Coeur and remixes of the track by Electric Rescue, Wex 10 , and Trunkline. The second part 'Erickson on Acid' puts a squelching acid twist on things and features remixes by Roman Poncet, Umwelt, and Zadig.

The original mix of 'Erickson' leads with a strong beat and a mixture of industrial sounds that makes for a sublime dark dancefloor track. Electric Rescue follows on with a remix that engages the listener with a terrorising yet intoxicating heavy baseline. Next up is Wex 10 who enchants us with a bouncy laserbeam rhythm and muffled looping vocals. Last but not least on the 'Erickson' lineup is Trunkline's remix which delivers an addictive hazy melody and a deep and dirty mechanical synth horn.

Cri Du Coeur plays with tensions in 'Erickson (on Acid)', putting the listener into a state of hypnosis with squelching sounds that give the song a raunchy character. We are implored to dance as Roman Poncet's remix bears layers of lively percussion beats with twangy synth melodies. The mood intensifies once more as Umwelt's remix features a dark and fuzzy baseline that contrasts with a screeching siren sound creating an ultimate thrilling experience for the listener. Zadig closes off this immense concoction of remixes with a relentless distorted base and scintillating machinelike background noises.

Cri Du Coeur has outdone himself by bringing together such a well-suited selection of artists to create a visceral and magnetizing collection of tracks that showcases his competence in making industrial techno

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Night Gaunt Recordings is pleased to announce “Ambitions of Guilt”, the newest offering from Brighton, UK based producer L/F/D/M. L/F/D/M is Richard Smith who first emerged in 2013 and has been steadily cranking out the hits ever since. Following his stellar release on Cititrax titled “Dream Bleeds”, Richard Smith is back with a new batch of misshapen heaters. A master of blending fucked up rhythms with chiseled body music that’s both danceable yet also makes you question humanity. Every track crafted to hit deep in the bowels of any warehouse, “Ambitions of Guilt” seeps with acid, techno, noise, and anything in between. With sleazy dance hitters that bring to mind midwest acid/techno, such as Gene Hunt, and also taking from British and Japanese industrialists by the likes early Richard H. Kirk and Sympathy Nervous, Smith creates a feeling that’s both familiar yet still wildly unnerving. L/F/D/M consistently seems to know how to explore emotions in this sphere of cold, repetitive machines, creating an exciting soundtrack to a contorted world.

What is Randolph & Mortimer? A folk duo, a pair of accountants, a techno act…a law firm? What started off as an ‘art project’, influenced by 80s Industrial, 90s rave music and inspired by the documentaries of Adam Curtis, has morphed into a full on New Beat / Body Music dance-floor moving machine. Their studio releases have gained support from some of the biggest underground DJ’s in the world like Ancient Methods and gone on to top various genre sales charts on Bandcamp. Whilst the R&M live shows have seen them share bills with Godflesh, Youth Code, PIG and 3Teeth.

In 2019 it was time for R&M to throw a marker down and so came “Manifesto For A Modern World”, the debut album comprised of tracks from the “$ocial £utures”, “Hope Tragedy Myths” and “Citizens” EP’s plus some additional songs. This album is basically a greatest hits of Randolph & Mortimer. A statement of intent. All killer and no filler. The original limited edition CDs and tapes sold out and it had some incredible reviews. A Model Of Control called it “An absolutely outstanding release” and super cool New York DJ Andi Harriman (Synthicide) made it one her of top 10 albums of 2019 on Post-Punk

So here we are in 2020 and the Randolph & Mortimer story has seriously stepped up a gear with this double vinyl version of the album featuring all Manifesto tracks plus the acid styled dance-floor favourite “Apply Yourself” and four brand new tracks (“Crystal Peaks”, “Stateless”, “What Are You?”, “Fantasy Land”) which make up a whole new EP.

Limited edition of 400 copies with folded poster/insert and sticker.

With this collection of deeply personal tracks, I wanted to reconnect to my inner emotions and to my love of melody, showing my most introspective and passionate side. Locking myself away in my studio, surrounded by vintage analog machines and acoustic instruments, my desire was to create a late night journey of contemplative experiences in music.

Drifting away from the harder, dancefloor oriented sound, this concept album reveals a thoughtful observation on the state of our world today and on these times of turmoil and uncertainty, ending with a positive message of hope and peacefulness".

The latest project by belgo-moroccan producer Reda Senhaji, alias Cheb Runner, focuses on breeding a new style of music between electronics and Gnawa. Taking inspiration from New Beat to Techno, Acid House and Gabber, the grooves are relentless, stiff and club oriented, relying heavily on analog synths and drum-machines. The sound is darker, more experimental and mature than his previous Gan Gah project.

Cheb Runner digs into the acoustic sounds of his youth, for an organic feeling of warmth and celebration. The syncopation of the classic Gnawa percussions, the “Tagnawit”, its groove is undeniable. Featuring two traditional Gnawa singers based in Brussels, Mâalem Driss and Mâalem Hicham, the EP is a reunion for the belgian Gnawa scene, keeping the vibe alive.

In a world of dematerialized culture, we tend to forget where we come from : by putting Gnawa music at the center of his production, Cheb Runner creates a bridge with the past. The young producer is a son of Gnawa himself, this is the music he grew up with and played as a kid.
Now he brings it to the club scene; Cheb Runner’s first EP is experimental, brutal, innovative. Getting past definitions and genres, it opens new horizons for North-African producers, showing them how to use their roots to make new beats. It encourages both tradition and modernity in Music. In 2019, Gnawa music, dance and culture was added to the UNESCO Intangible Cultural
Heritage list, demonstrating both the relevance of the genre and the necessity to preserve it.
of the genre and the necessity to preserve it.

Cheb, the Arabic word for “young boy”, is traditionally used to describe the young generation of Raï singers – like Cheb Hasni, Cheb Mami or Cheb Khaled. It means the new generation is here, to create something new with something old. The reference to the Ridley Scott movie Blade Runner is just that: while the Cheb comes from the bled, a moroccan village in the Agadir region, the beats come from the club scene of an industrial city, like Berlin, Detroit or Molenbeek/Brussels.

Cheb Runner takes you on a trip through space and time, as well as to pass on ancient rhythms to inspire the next generations.

Fresh from their release on John Digweed's Bedrock Records under their more covert Techno guise 'Cypherpunx' the Brighton based duo Flip Fantazia unleash their debut album ‘The Trip’.
Touching on influences from Air to Bonobo, The xx to DJ Shadow, ‘The Trip’ guides you down a road less travelled meandering through Downtempo, Electronica & Trip Hop with a few Jazzy twists & turns.
Essentially Flip Fantazia is a meeting of two minds,
four hands, several synths, quite a few guitars, some very clever computer software with a variety of drum machines. The prolific duo spend most of their time writing, recording, producing, mixing & mastering original music down in an old bank vault in Brighton... well, Hove actually! Their real names… Douglas Horner & Tim Belcher.
Born from a project focussed mainly on music for Sync, writing for Ninja Tune PM, Cavendish Music, Delimusic, BMG PM & Deep East + more this is their first artist album to be commercially released.
Their first brief for Ninja Tune’s Production Music company was to create an authentic 60s sounding Samba song and a Boogaloo / Salsa, both of which appear on the Ninja Tune Latin Excursions album.
Along with a contemporary breaks / glitch remix of the classical masterpiece Flight Of The Bumblebee and a piece of funk with a foodie flavour for two other Ninja Tune production music albums. Another brief came in for some Australian influenced Beach House from delimusic to be used on the BBC Commonwealth Games Gold Coast 2018 coverage, so out came the Didgeridoo and five new tracks were born. Writing to brief is a delight & an adventure for Flip Fantazia covering many genres from authentic Samba to electro disco new-wave post modern cosmic soul funk afro-boogie punk alt+indie dance crossover and everything in between! So it was tough to narrow The Trip down to 10 original tracks which best illustrate the authentic Flip Fantazia sound.

Since making his debut as 96 Back in 2018, Evan Majumdar-Swift has become one of underground electronic music's genuine rising stars. To date, the Sheffield-born producer has released two acclaimed albums for labels such as Hypercolour and CPU as well as a string of singles and collaborations. His EP for Happy Skull showcases his growing versatility as a producer and marks the labels return following a brief hiatus.

"143 Connections", is a rapidly unfurling club cut that sees him pepper a weighty 140 rhythm track with crispy arpeggios and rolling acid motifs . The track increases in intensity as it progresses, with Rob Gordon's immaculate mastering work bringing out the cut's inherent weight, sharpness and subtle Bleep influences.

Elsewhere across the EP, 96 Back takes the opportunity to expand his trademark sound a little further. "Set Science" is a colourful slab of electro machine funk, full of fizzing sci-fi melodies and brain dance era synth work while "In The Trunk, Belting Down The Highway" drops the tempo but turns the intensity up to red with a slow motion chunk of mutant electronica complete with misty eyed breakdown.

Sludge machine music slapped through the infinite mixing desk by SRS - the combined mind of Sunun and Robin Stewart. At any pointData Fossil'sgiddy industrial riddims could collapse under their own weight. There are Sunun inputs and there are Robin Stewart inputs - but everything is offered up to their machines gladly for an output of nu-human-beat. Voices drift through the mix in hushed Italian and Robin's gruff roboticized drawl, floating dub chords left hanging for cavernous subs and rattled bones, distant harps and arps, a sudden blast of trills. 'Spit Fossil' itself is a clipped noise-pop wonder - the aural equivalent of a lights-on Avon dancefloor with only the weirdest left standing.



Recorded on the rooftop of a housing project called Camelot in 2018, the two Bristol locals debuted the live / unplanned collaboration in an inflatable arena called 'Toldo' in the Brunswick Club ballroom (RIP). Then again at Young Echo at the Cube Microplex - a night where it's said anything is possible (Sunun even dubbed Guest's live human heartbeat there recently….). IfData Fossilis hard to describe - it's just the sound of the musical freedom of a city that will never run dry.



It's a high Bokeh honour to welcome Sunun back after we helped release her 2018 debut,Ooid EP. Her live show continues to be the most inspiring re-use of dub principles we've witnessed (again and again). Time only grows her music outwards causing the Young Echo collective to demand she join them. SinceOoid,she's released a 12" of MPC wonders with close Bristol pals Cold Light.


Recently bearing his dub-side to all that didn't know on Trilogy Tapes'Time Travel EP, Robin Stewart is half of world conquering techno-cult Giant Swan. Also a veteran of Rwdfwd stable of imprints (Fuckpunk and NoCorner) - his music DNA is equal parts shoegaze and steppas. In 2020 he was officially recognised for having the largest collection of Bokeh t shirts.

Repress!

Just when you think that the well of obscure music from around the world has run dry, Analog Africa returns to put the record straight. Pop-Makossa shines a light on a glorious but largely overlooked period in the story of Cameroonian makossa, when local musicians began to replace funk and highlife influences with the rubbery bass of classic disco and the sparkling synth flourishes and drum machines of electrofunk. The resultant compilation, which apparently took eight years to produce, is packed full of brilliant cuts, from the heavily-electronic jauntiness of Pasteur Lappe's "Sanaga Calypso" and horn-totin' Highlife-disco of Emmaniel Kahe and Jeanette Kemogne's "Ye Medjuie", to the dense, organ-laden wig out that is Clement Djimogne's "Africa".

Kristian Craig Robinson, aka Capitol K, is a multi-instrumentalist and record producer with a long history in London’s most interesting under-the-radar music places and spaces. With a musical story like his, you can expect side streams. New record ‘Birdtrapper’ is “the sound of an initiation rave in a utopian hidden village”, and his latest exploration of Mediterranean audio mythos following from ’Goatherder’ (2018). The six track mini-album was similarly formed from ritualistic improvisations performed in Malta (where Capitol K was born), using home-made flutes, reed pipe, bamboo percussion, drum machine, bass guitar, but this time features a wider use of synthesizers, with the alternative dance floor in mind. Where ‘Goatherder’ was an awakening of genetic primitivism, ‘Birdtrapper’ is an evocation of sonic bird callers, proto-rave abandon, ambient resonance and an ecstatic captive state, along with the previous work's visions of hunters, temples and scrub land music
‘Goatherder’ caused a quiet kind of quake and was beloved by The Quietus, BBCR3 and 6Music. Vinyl Factory described it as “like a series of manipulated field recordings that have an ancient, ritualistic quality … Goatherder shimmers with Balearic strangeness, rooted in an earthy outer-national dance music tradition”. For the last seven years K has been behind the consoles at the heavily influential Total Refreshment Centre, recording and mixing records with the likes of Trash Kit, The Comet Is Coming, Rozi Plain, Alabaster DePlume, Dry Cleaning, Flamingods Cykada, Ibibio Sound Machine, BAS JAN and John Johanna. It’s not just recording. He’s also become an influential if understated mentor to a new wave of producers and bands. His experience in studio environments is long and storied, including stints at Studio Plateaux on an island in the middle of the Thames and in the Royal Symphonia’s squatted rehearsal rooms. Capitol K has released seven albums and the 'Birdtapper EP' follows a legacy of influential releases on early 2000s electronica labels including Planet Mu and XL. Aside this he also runs the record label Faith & Industry. It’s a friends and family, love not money affair and he has released music by Champagne Dub, John Johanna, Super Best Friends Club, Blue House & Clémentine March.

Alex Jann returns to Dance Trax after last year’s intense electro workout alongside Assembler Code. Here he fly’s solo showcasing his broad style of electro futurism - inspired by authentic machine funk, Jann re-imagines classic sounds for modern times. Marco Bernadi on flight deck reporting for remix duties - Stay alert!

DJ Support
Nightwave “really digging this and will play in isolation streams lol cant choose a fav tracks, love them all and heavy Bernardi rmx” 5/5
Martyn Bootyspoon “Don't come around is a jam” 5/5
Solid Blake “top!” 5/5
tiga “downloading for tiga, thanks” 4/5
Fear-E “Excellent stuff!” 5/5
Paul Woolford/ Special Request “Y E S Cybernetic Memory bangs, gonna throw it in the mix on my Radio 1 show, can you send me a WAV please? T H A N K Y O U” 5/5
Horse Meat Disco “Love this” 4/5
Extrawelt “Dope!” 5/5
Martelo “this is super wavey.. into it!” 5/5
Len Faki “great vibe - love it!” 5/5
Âme “thanks” 3/5
Mr Beatnick “inward energy is perfect for my NTS show”
Ben UFO “thanks” 4/5
Mosca “Marco always hits that sweet spot of offness” 3/5
anja schneider “THX for the music” 4/5
Barely Legal “Hard” 5/5