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Three ultimate Jungle Techno tracks, two new and one reloaded Dubplate tune that DJ Ratty used to play in 1993, totally remade from scratch. One of those records you will regret not buying. 10/10

'Voices In The Night' is 23rd Underpass' third full-time length album, and Costas Andriopoulos has not lost a bit of his talent to write classy and catchy yet dark synth pop-infused Italo disco tracks. Again aided by Nadia Vassipoulou, John Britsas and Panos Papapetros on vocals, the album is comprised of eight brand new tracks including smash hits 'I Hear Voices In The Night' and 'Together Forever', for you to dance on your favourite disco's dancefloor, alone at home or just to dream away on Costas' haunting melodies.

Profit Prison is the solo work of Seattle-based Parker Lautenschlager, previously in the hardcore band Marrow, power electronics act Anteinferno, and black metal cult Bhereg. Conceived in 2016, Profit Prison explores lyrical themes of isolation, estrangement, deprivation and paranoia against an aural backdrop of synthpop, post-punk and abstract industrial music. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created. The debut Myra was released on cassette by Dominick Fernow's Hospital Productions in 2017.

On March 29 Avant! will release the 12' vinyl debut Six Strange Passions. Six tracks where Hi-NRG disco beats and 70's throbbing synths melt with trembling, reverberated vocals and dark dungeon synth passages.

Limited edition of 300.

Artwork by Italian Noise legend Matteo Castro (Lettera 22, Kam Hassah, Second Sleep label)

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

Following his 2017 solo debut EP, "Resisting in the Darkness", Tyler Dancer takes a step toward the light in his second outing for DBA, "62 Miles High".

Written in Hasselt, Belgium, "62 Miles High" finds the Shake-collaborator drawing upon his Detroit and Midwest influences to reveal another page from his sonic journey.

* Abyss is a new artist for Kniteforce, and he brings a distinctly different flavor to the label. Having had a few tracks featured on anthologies within the label such as the Death To Digital EPs and the Vinyl is Better albums, he now brings forth his first full EP. His sound is jungle and dark for the majority, from that early era of D'n'B, at the birth of the almost hypnotic sound, with strings and dark spoken word samples, and the omnipresent and heavy amens. The result is something that sounds like it was build in 1994, and has only just resurfaced....

Club / DJ Support
Billy Bunter, the Fat Controller, Glowkid, Slipmatt, Dj Jedi, Dj Luna-C, Dj Brisk, Clayfighter, Jimni Cricket, Bustin, Sc@r, Doughboy, Saiyan, Dave Skywalker, Ponder and many others

The five-track EP by Leonid Nevermind has everything you want for your body and mind. Picturesque electronics with deep funky, jazzy and mellow Electro moods. Musically rich with a blend of attractive drifts between breezy and melodious Detroit House, dark and smooth 90s indie-house, jazzy piano flourishes, clunky broken beat, and sticky Lo-Fi House.

Jaali's sound reflects a timeless wave of electronic music inspired by futuristic ambient spaces and expressive techno rhythm. Subtle darkness meets haunting melody, a blurred picture of the vast electronic music history. Working out the tracks in their own studio, the record was finished in Nils Frahm's stunning Funkhaus Saal 3 Studio. The mixing was done on his Konsul 1 desk, enhancing the radiophonic touch with the original GDR reverb chamber.

The now legendary collaboration between producer Terence Fixmer and vocalist Douglas McCarthy continues with a new 4 track E.P. of blistering electronics and intense performance. Long time fans will immediately recognise the strong tradition of EBM that Fixmer/McCarthy have held as their own for 15 years. 'Let It Begin' and 'The Crush' assault the listener with bruising bass lines, heavy insistent drums and mesmorising sound effects. With a Phase Fatale remix bringing a brooding and menacing darkness to any dance floor. The Force Mix of 'The Crush', harks back to the original power, energy and simplicity of how FM fans were first introduced to Terence and Douglas on their 2004 debut album 'Between The Devil'. The brutal love story continues!

Combo Lulo returns to Names You Can Trust for their sophomore single, digging deeper into the diversified sounds of the Caribbean that helped define their debut. While the first single took a Jamaican foundation south into the neighboring continent, fusing the sensibilities of rock steady with those of classic Afro-Latin orchestras, this single goes far east. Inspired by the heady and sublime sounds of foundational ska mixed with East African influences, (think Buster's Islam, Don D's Addis Ababa or Further East), The Sieve & The Sand is a brand new composition within this natural order, albeit with the fortune of different reggae eras and studio styles to draw from. Divided into two parts (but also available seamlessly as it was played in the studio), Combo Lulo's talented players move effortlessly from the galloping shuffle of ska into a deep and dark, Roots Radics-styled instrumental. It's a lovely ode to the original styles of reggae, but also another impressive accomplishment that will surely leave listeners and new fans in anticipation of the shape of things to come for Combo Lulo.

Claremont 56's latest release is very much a family affair. It sees Idjut Boy Conrad McDonnell - a regular remixer of Claremont 56 releases since the label's inception - serve up two spaced-out, dub-wise revisions of a little known cut by Bison, the imprint's very own 'super-group'. The 12' has extra emotional resonance for Bison's Paul 'Mudd' Murphy and Ben Smith, as it marks the band's first release since the passing of fellow founder members Holger Czukay and Ursula Kloss.
Clutching his cherished space echo and tape delay units, McDonnell has delivered two tasty new dubs of 'Salmon Spungcake', a spacey, gently throbbing Bison cut that he co-wrote, produced and mixed for Claremont 56's 10th Anniversary box-set in 2017.
While the original version shied away from the dancefloor in favour of creating a hazy, horizontal mood, McDonnell's 'Zip It Shrimpy Mix' re-invents the cut as a hypnotic dub disco shaker rich in weighty bass, layered hand percussion, locked-in kick drums and spaced-out vocal snippets. In true dub fashion, flashes of the band's original instrumentation - effects-laden guitars, hazy electronics and meandering, deep space chords - float in and out of the mix at irregular intervals. It's the kind of remix you want to get lost in while wearily shuffling at 5am in a dark, sweaty basement.
The glassy-eyed, head-in-the-clouds fun continues on the 'I Think I've Got Gout Mix', an even more spaced-out affair that recalls some of the other inspired dancefloor dubs McDonnell has produced alongside Idjut Boys partner Dan Tyler. Stripped back, heavy, percussive and driven forward by sturdy kick-drums and the track's rich, warm bassline, this is a deep space dub disco tailor-made for space cadets and intoxicated sunrise dancers.

Daniel Avery broadens the exquisite sonic universe established on last year's critically-acclaimed sophomore LP Song For Alpha, presenting the collected B-sides & Remixes. Showcasing cuts from the album's writing and recording process, as well, Avery also invites a number of his contemporaries and some of the most vital underground producers in the world to rework his original material, with transformative results.

The frosty melancholy of Citizen // Nowhere is reworked by London producer Manni Dee into something altogether monstrous. Introducing itself with a kick drum powerful enough to level a warehouse, and only getting more urgent from there forward, Dee's remix blends a knowing rave glint in the eye with a nonetheless uncompromising stance.

The Copenhagen-via-Moscow producer Anastasia Kristensen immediately justifies her status as a rapidly rising talent on the scene, locking into a delicate yet no less powerful groove for her sparkling remix of Glitter. Seamlessly heightening the almost meditative qualities of Avery's original, she weaves a blissful rhythmic trip, taking in razor-sharp percussions and spectral dub techno.

A longstanding fixture on the Midwest US rave scene, Patrick Russell applies his typical grit to 'Song For Alpha's firmly dancefloor focused centrepiece, Diminuendo. In subtly shifting the focus to the track's passages of overwhelming feedback, he sculpts a black hole of snarling electro and piston-like breaks, sure to prove an inviting wormhole to those willing to surrender further, deeper and darker.

- Limited vinyl only release - Including postcard with download code for another new album from Jacek Sienkiewicz.

IMOW, or 'In My Own Wave' - Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best!

IMOW, or 'In My Own Wave' is a moody record. Although overtly experimental in form, it's quite different to Sienkiewicz's abstract, improvisational albums recorded with Max Loderbauer or AtomTM. Clocking in only 35 minutes and comprising of eight tracks, 'IMOW' is several years of work distilled into a dense, concise whole. Atmospheric, cinematic, stirring and utterly engaging, this is surely Sienkiewicz's most personal work to date and very possibly his best: his constant struggle to find a perfect balance of flesh and machine, or to translate human emotions to sound by means of a modern studio is manifested here in its purest, most consistent and, surprisingly, very accessible form. From subtle drones, through chants and rhythms echoing in mountainous chambers, to innumerable insect-like sounds and tiny details, it's an encephalogram recorded to tape (or disk). With all its complexity, it's not overwhelming: the meticulously constructed compositions leave both space for the sounds to breathe, and for the listener to fully experience it, without being bored, tired, wishing for less or being hungry for more. And there's beauty in this record, and hope - in the world of overpowering darkness and constant noise 'IMOW' feels like a peaceful trip into the untouched nature with all its wonders - offering in equal parts rest, strength and inspiration.

Finnish electro-tropical ensemble Maajo is delivering a new Queen Nanny EP with Ismaila Sané from Senegal. Currently based in Finland, Sané started his career as a dancer and percussionist in Dakar in 1974. He has since pursued an extensive international career and worked with the likes of Jimi Tenor and Piirpauke. Ismaila and Maajo have produced two powerful songs in Jola language, spoken in Casamance, Southern Senegal. Sèmbè is an off-beat mix of disco reggae grooves, dancehall rhythms, trancey synths, and African gospel. The dub version on the flipside does what a dub is supposed to do, strips the track to its bones for bass-heavy sound system. The second track, Anaata, is a dark and mellow dub disco groover with an equally sublime vocal performance from Ismaila Sané.

Following Releases From Rude 66, Vakula And Mick Wills, Arma Continues To Explore The Dark And Wild Corners Of Contemporary Machine Music Via A New Split 12' Featuring Lvrin And Maoupa Mazzocchetti.

Lvrin Has Previously Released On Pinkman, Crimes Of The Future, Mrt And Sign Bit Zero. He Occupies A Sound World Where Blown Out Boxes Spit Out Gnarled Beats And Slimy Basslines Through An Overdriven Desk, With The Ghosts Of Post Punk And Industrial Looming Over His Nocturnal Incantations.

Maoupa Mazzocchetti Has Been Weaving Defiantly Unconventional Strains Of Electronic Music Since First Emerging On Unknown Precept And Mannequin. He Delivers Three Rugged, Body-poppin' Grooves To The B Side, All Laden With Madcap Sampling And Mischievous Synth Splashes That Proudly Stray From Established Norms While Still Holding Down A Solid.

Heads Up! The Berlin DJ and producer Audri present his new label Demut. He inaugurates his project with a stunning 3 track EP with Detroit Techno influence.

On the A side "Refrain Buzz" is an uplifting old school techno track with a stunning bassline and a remarkable whistle that will enter in your head and never leave!

On the B1 side we find "Quake" that is exactly what a B side should be, raw - punchy and obscure, perfect for every dark basement and warehouse.

On the B2 side "Life In Andromeda" closes the EP with emotional pads and an electro soul that brings you into space with a dreamful feeling!

The Vinyl Debut Of Microm Records Is A New Era For Negocius Man And Microm Records N.e.g.o. They Are Very Special Songs With Different Styles Of High Quality Electro. It's My Cover Letter Around The World Hard, Raw, Dark, Robotic Vocoders, Detroit Sounds And Drexciyan Moments, Galactic Funk, Minimalist Atmosphere With Effects. They Are My Different Facets Making Electro But Not All, I Have A New Sound For 2019, Stay Alert And Enjoy!!! For Me Is A Timeless Disc, I Like It And I Always Will, All The Tracks Are Me: N.e.g.o.

(12 EP, edition of 200 copies) This is what happened when Enfant
Terrible label boss M. and Roberto Auser went to work on some music
together. All tracks on this EP were tracks or sketches Roberto Auser
created for ET but went a different way after some studio sessions
together... so they created Silver Age People as a project and ended
up with a mix of elektro, post-techno, post-industrial with touches of
(dark) ambient... the music is much more subtle as the VEKTOR
project by M. and for sure darker as Roberto Auser has ever sounded
before... from pounding beats with a flirt to EBM to hypnotic dark
ambient pieces... it is all here on this debut EP...

Qestion is an emerging talent from Madrid and, alongside Kwartz, is part of the "Body Unknown" project with which he has edited on Horo.

Now Qestion makes his solo debut via Order&Devotion and, following the wake of the label, he delivers a five track EP (including a remix by head honcho Kwartz) impregnated with dark atmospheres, killer synths, and powerful beats.

Identity Theft is the solo electronic music pseudonym of Michael Buchanan, who is one half of the project Abandoned Footwear, and also a founding member of Nommo Ogo. Utilizing an arsenal of analog and digital synthesizers alongside rhythm machines and effects, he continues to explore themes of paranoia, surveillance and shadow psychology; prevalent in Identity Theft's catalog since the release of his first effort, 'Night Workers' in 2010. He has previously released music on various European labels such as Oráculo Records and Treue Um Treue, as well as domestically via the Record Label Records and Katabatik imprints.


Chem Club's fifth EP, The Wrong Side of History, builds on Identity Theft's divergent production style, showcasing a mix of heavy sub frequencies, plucked modulars, tight delay, broken percussion and chuggy basslines. The A side, with tracks Johari Window, Climate Denial and No Response demonstrate the record's more rhythmic leanings. A1 and A2 use a forward moving sound palette rooted in heavy kicks, modular stabs and sequenced bass. A3 cleverly chops it's drums up while a throbbing sub and sharp synths create movement. The B Side with tracks Say Something and Vault7 opens the door to a darker room. B1 uses a fragmented arpeggiated bass that coincides with an array of plucks and melodies to create something uniquely catchy. B2 is the real low end face melter on this record where the drawn out bass notes, sonar like synth work and metallic pads conjure up thoughts of a lost submarine never making it home

Black Friday LP now made a regular catalogue item. When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced - Havoc and the sadly-departed Prodigy - the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the '90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with Keep It Thoro.' It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy's no-nonsense lyricism on Keep It Thoro' is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But Thoro' was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including Rock Dat Shit' and Y.B.E.' (featuring B.G.), but it can be argued that the album's real gems are buried deeper. Genesis,' What U Rep' (featuring Noreaga) and Three' are all sinister yet pensive. Wanna Be Thugs' and Delt With The Bullshit' are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all - especially in light of Prodigy's way-too-soon passing due to complications from Sickle Cell Anemia - is You Can Never Feel My Pain,' which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy's first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

Experimental A/V duo. It's live-sets are pure dark distorsion and deconstruction sound. Avant-Garde, non-art, chaos and tension are the main references of this project. Broken rhythms, sharp sounds, dissonances make up the main musical spectrum of this band.

Influenced by Electro and Industrial music, inspired by artists such as Ultradyne, Hijokaidan, Merzbow, Drexciya, Consumer Electronics, Throbbing Gristle, Dopplereffekt or Esplendor Geometrico. They just realised their first EP called math.random() in Rator Mute label.

It's safe to say that Detroit, a city steeped in economic, cultural and musical history, will soon weave its way into your soul should you spend any sustained time there. This rings all too true for Monty Luke. He has immersed himself in Detroit's scene since moving to the Motor City in 2008. His new eight track LP, released via Dogmatik, showcases the style of a new generation of Detroit producers carrying the beacon for a deep, Detroit sound that blends analogue weight and punchy drum programming together with masterful synth work and raw emotion.
Even at first glance the polarised artwork, an aerial map of Detroit, shows the more introspective nature of this Motor City ingrained release, with Luke purposefully steering away from writing club ready material. Introductory track 'City Lights' gives a first taste of this, combining swelling synths, dreamlike arps and crisp percussive hits. There's a real weight to the bass synth that compliments Abi B's soulful vocals all too well. 'Anton's Room' & 'Crime Wave' follow suit -the former with itslayered gritty bass, expansive stabs, glitchy bleeps and undulating arps and the latter creating a sonic swell between your ears manifested by a surging, panned arp, alongside sirens and punchy, gunshot like snares. Inspirations from Moodymann to Theo Parrish are clear to be seen in tracks like 'Move', taking a range of jazzy loops and samples and chopping them into a low slung, bouncing MPC laden jam.Progressing into the 2nd half of the album there's a transition from deep, Detroit house into harder hitting, electro territory. 'Willie Maze' with its killer drum programming, reverberating Rhodes and dynamic bass and 'Roja', combining emotive late-night chords and melancholic synth melodies, really honeinon that pensive, thought-provoking aesthetic. One of the highlights, 'Wasteland', is the best example of this transition -interlacing a commanding electro drum pattern with squelching, synth melodies and Serene Arena's introspective lyrics.
Then taking it full circle, closing track 'Block Is Hot (Black Hole Mix)' -co-produced by King Britt in Philadelphia (alongside City Lights, Crime Wave & Willie Maze), returns to the 4/4 path with a thumping party track, carrying through that raw nature emanating from the dark melodies and Monty's adlibbed vocals.
'Hard Work/ Not Hype' is a record flying the flag for those underground artists working tirelessly behind closed doors to produce material that's based on feeling, emotion and skill, rather than riding off the back of an inflated, socially constructed image. Monty Luke, as someone that follows that mantra, has been able toconstruct an album showcasing this, creating a real weight and depth to this release; it's raw, powerful and thought provoking, expertly capturing the soul of Detroit -the city that's had such a profound effect on him

DETROIT SWINDLE
Ouch that's HOT! Bring it on.
KRISTIAN RAEDLE/ INNERVISIONS
Yes please. Very nice.
AYBEE
Fanatastic Work Monty!!
ASHLEY BEEDLE
Thanks for sending over the Monty Luke album to listen too. It's a great
contemporary album with of course Detroit running through it's veins! It
really pulls you in and I think the arrangements and productions are great.
Fave tracks are City Lights, Roja, Willie Maze and Block Is Hot.
LAURENT GARNIER
Oh yes..This is so elegant and sexy. Love it Would love to play it
OSUNLADE
This one is a guilty pleasure vibe..hate that I love every song equally

Unprofessional's Debut Featuring Four Unrelenting Tracks That Echo The Golden Years Of Italy's, Everything Goes, Rave Heyday. Her Tracks In This Release Are Characterized By Epic Synths, Jacking Hi-hats, And Lo-fi Hip-hop Style Sampling. Beyond Musical Characteristics, A Fantastical Sense Of Humor Pervades The Release With Self-conscious Samples Embedded In Many Of The Tracks And Overtly In Titles Like civilization At The Bio Store' Or grand Unified Theory.' Before This Release, She Has Been Performing Live The Darker Corners Of Europe's Electronic Music Scene. In The Last Year She Has Been Featured In The Mixes Of Alienata (killekill), Bill Kouligas (pan) Or Pure (praxis Records, Aufnahme + Wiedergabe).
Unprofessional Herself Comes From A Small Town On The East-coast Of Italy. She Began Producing In Her Early 20s In Milan Before She Moved To Berlin And Began Organizing Small Uncompromising Local Parties, Which Featured A Pretty Disparate Group Of Musicians.-
Mastered By Mike Grinser (d&m)
Artwork: Bartosz Zaskorski
Design: Teo Schifferli

Patrick Topping has announced that he will be launching his own record label, TRICK , a home for Patrick to exhibit his versatility as a producer, as well as a platform to showcase the wealth of the emerging talent which he has been pushing in his DJ sets.

Packed with three original tracks from Patrick, the EP-titled 'Watch What Ya Doing ' comes with the launch of his label TRICK and as a much anticipated follow up to the late 2017 Hot Creations smash 'Be Sharp Say Nowt', which continued to dominate throughout 2018. A year which proved another hugely successful one for the UK producer who was called on for the remix duties for Calvin Harris and added Music Radar 's ' Best House Producer/DJ 2018' ' and his third DJ Award for Tech House Artist to his list of accolade that include his DJ Mag ' Best of British ' award and reaching number 11 in Resident Advisor 's 2016 top DJs poll.

This debut release on TRICK showcases a change in sound from the acclaimed artist and an evolution of Patrick 's ever-maturing style. The British DJ displays a new style as a producer, one which has always been a part of his genre-hopping DJ sets, but for the first time as a producer, Patrick delivered an EP packed with darker techno undertones and raw influences.

The imprint's launch follows the British producer's sell-out headline shows at Manchester Academy, two consecutive nights Dublin's District 8, London institution fabric, his very own takeover at The Warehouse Project and as far as Melbourne's huge Shed 14 . Entering a refined and developed chapter of his career, the announcement follows Patrick' s Boxing Day set at Digital, Newcastle , the last ever party in his acclaimed Motion event series, with the UK producer looking to support and nurture emerging talent in future via the launch of ' TRICK.'

Man Power's Me Me Me signs up long-time friend Ian Blevins for his long overdue label debut. Blevins's originals are backed by stellar remixes from Austin Ato and Kiwi.

Blevins hails from the North East of England and has released on ESP Institute, Futureboogie, Not An Animal and Culprit. The prolific producer was a long time resident of the legendary We Love Space in Ibiza and is an enduring favourite on the UK scene with plenty of musical tricks up his sleeves.

'Both tracks on offer showcase the mongrel sound that I hear coming out of the North East region,' Says Man Power. 'Partly tough, partly playful, not simply techno, not simply house, and certainly nowhere near the most common contraction of the two words.'

Innovative opener 'The Serpent' is a suitably snaking, slithering groove with acid twitches, rubbery drums and raw percussive energy. It pings about in dynamic fashion and really keeps you on edge. First up to remix, Austin Ato makes his return to the label after his huge 'The Sound Of' EP in summer 2018 and gives further credence to Man Power's suspicion of his impending super stardom. He takes the 'The Serpent' on a luscious and deep trajectory that would make Larry Heard proud.

The second standout original is 'Unse', a dark stomper with cosmic rays that strike right to the heart of the dance floor. It's menacing and absorbing music that is steely and unlike anything else. To remix is 17 Steps regular Kiwi, who is responsible for two of Man Power's favourite tracks of 2018. Here he continues his run of astounding form while taking 'Unse' in a tougher and more robust direction that will really make you sweat.

As ever this is a brilliant and stylistically diverse package from Me Me Me.

Recent Arts is a duo conformed by visual artist Valentina Berthelon and musician Tobias Freund. Together they build live performances using video projections and experimental sound -charged with symbols, stories and poetry- thus generating sound environments that invite to enjoy the music while deeply connecting with our perceptions of the world and our sense of realities within it. Access audiovisual material at: recentarts Written and produced by Tobias Freund at Non Standard Studios, Berlin 2018 Vocals by Barbie Williams, Video by Valentina Berthelon

WRWTFWW Records is immensely happy to announce the reissue of impossible-to-find cult album Lady Maid by Japanese outfit Normal Brain, available on vinyl, digipack CD (for the first time ever), cassette, and digital, with liner notes by acclaimed sound artist and mastermind behind the project, Yukio Fujimoto.

Originally released in 1981 as a limited vinyl pressing of 300 copies on Agi Yuzurus fabled experimental label Vanity Records (R.N.A. Organism, Dada, Sympathy Nervous, Tolerance), Lady Maid is a testament to the creativity of the early 80s Japanese electronic and experimental scene, encapsulating a prolific era when audio gear became affordable for musicians to explore sounds in the comfort of their home, free from studio time pressure and major label rules.

Entirely imagined and brought to life by an inspired Yukio Fujimoto, the 6-track opus was conceived with a Korg MS-20, a Korg SQ-10, a Boss Dr. Rhythm DR-55, anda Texas Instruments Speak & Spell! Its elegantly minimalist, honest and witty, very playful, cleverly pop, and downright fascinating. The a-side captures the fun side of avant-garde electronica, lo-fi wave, proto-glitch, and IDM, a joyful ride beautifully interrupted by the cinematic mood switch of the b-side - a 20 minute ambient piece flirting with sci-fi, melancholy, and hints of metallic darkness. Unclassifiable and marvelous!

53 Degrees North marks SK_eleven s seventh release, as Setaoc Mass continues to add to his flourishing imprint; this time with a two-part EP release. 53 Degrees North Part One focuses its efforts on four-to-the-floor club-centric music the label head is renowned for. All four tracks are emblazoned with his signature, disparate pairing of light and dark sound palettes glued beneath rich, atmospheric textures and hypnotism - all the while keeping its muscular club chassis gleaming beneath. Part Two of the double release sees Coates revealing more of his experimental side. The second cut pays homage to past influences of the producer as he floats between ambient, IDM and electro cuts with ease, all rife with emotion and passion.

Berlin 2059
Dark forces control the city, underground music is banned everywhere, old skool DJs, crew and collective can comunicate only via pirate radios...

Beside beeing constantly hunted from techouse police, infamous Chemistry Radio continues to transmit 90's underground music.

Not easy to stop it!

Will Miles, Virginia Born Junglist badman, finally joins the Inperspective family with 4 glorious cuts of hardstep futurism.

Music that captures the old school sensibilities while still maintaining the forward thinking ethos that has become the Inperspective staple.

Title track Choose Wisely brings a side to repertoire that isn't often seen. Stomping Amen of the highest order. Does the damage that needs to be done.

Medicine brings the pain is a starkly different way, steppy hard break with a morphing darkside bassline is the order of the day on this one, encapsulated with the sinister atmosphere.

Bringing in the element of diversity of the EP we have Pulsation, a quirky, Dubby Footwork/Jungle hybrid. Has been shocking audiences all over with it's skippy progressive style.

Finally, Want Not, brings the beauty. Hardstep Liquid vibes are what makes this tune fairly unique in the Inperspective catalogue, but don't let the haunting piano and chilling vocals confuse you. The bassline in this one comes from the depths of Hades!

Line Explorations present its first release - a compilation consisting of six tracks by six national artists, producing under the names of T'iwu, HTL, PX, emme, AMSH and Mensaje Sanador, serving as a sampler for what's to come in the future on the label and the sounds the label will evoke such as techno, IDM, ambient, noise, drone and experimental vibrations from the further avant-garde,

The first track focuses on growing an organic and everyday sonic scape with the use of chords and melodies filled with light touch - reminiscent of clear skies and sunshine - which creates an ambient feel similar to that of daily vibrations of life as presented and explored by T'iwu.

HTL enhances the depth of the reflections of today's emotions one can feel by delving deeper into everyday surroundings and exploring the noise/drone side of the ambient musical styles by mixing melodic elements with the out of the ordinary effects which shock and ululate while shaping the musical texture into a darker and deeper atmosphere.

The following track, by PX, elevates the atmosphere into a more jovial soundscape full of '80's inspired electronica and sci-fi soundtracks. The beat rolls off and twists in a funky groove helping develop a danceable pace for the release.

On top of that, emme presents the fourth track - in the shape of techno meets breaks - where more classical elements of industrially influenced electronic music can be traced from yesteryears. The sounds engulf in warmly distorted melodic strings while flowing over and under the rhythmic structure.

In contrast, AMSH's ''Subway'' presents a downpour of heavy sounds, such as noise influenced synths and delayed infected percussion, along with field recording of trains help envision the movement of a manmade machine and its flow through the undergrounds of today's world.

The final piece, of the label's initial release, comes in the shape of a Mensaje Sanador or healing message. The track takes on the elements of the three titles that have preceded it and explores further the dynamics between current and classical sounds of the electronic dance music genres by delving deeper into sound synthesis, melodies and rhythm as to help one submerge further into exploring such sounds, their history and the future to come.

Dutch producer Tripeo returns to his self-titled imprint this March to release four ethereal cuts entitled 'We Have Power In Numbers'.

With a discography of over thirty releases across nearly two decades, Darko Esser aka Tripeo has truly established himself as a key figure within the techno world. His open-minded and forward-thinking approach to music allows his ideas to continually develop and transform, which reflects through his vast material on his Wolfskuil Records imprint. The label recently hosted an exciting new wave of techno artists such as Shlømo, Rumah, PTA (Ambivalent & Physical Therapy) and Cadans, who collaborated with Tripeo on a Rekids release at the end of 2018.

'We Have Power In Numbers' kicks off with sparkling, acid arpeggios, encapsulating pads and weaving modulations before 'Hoax' delivers shuffling percussion, shimmering synth lines and stabbing, bass grooves.

'Pandora's Box' follows on the flip with haunting oscillations, growling resonations and an off-beat 909 clap throwing you right in the groove until 'Pay It Forwards' finishes things off with electro-tinged flavours, tantalising pads and stirring melodies.

Keysound Recordings are excited to present three very unique cuts from Scratcha DVA x Gage: 'FLYTNURSE,' 'PIFFD' and 'FLYTNURSE (DARQMIX)'. Dark, euphoric, weighty, and somewhat restless, they defy obvious categorisation. Gage has made himself a formidable reputation by releasing some of the most forward-thinking darker dance music in the last three years, predominantly on the ever-quality Crazy Legs imprint. 'Telo' was a standout dancefloor moment, equal parts impactful and experimental, quickly followed up by the "Mercury EP," "2017 STAY PARO" and his banger-collab with Kevin Jz Prodigy, "Bad Bitch." Scratcha DVA first appeared on Keysound 66 releases ago with the explosive dread grime anthem 'Bullet A'Go Fly' featuring Badness, Riko, Flowdan and Killa P. But in truth he has a lengthy production back catalogue both before and after that 12', with albums on Hyperdub, his new 'Interludes' project and a track on the recent landmark Kode9 & Burial Fabriclive 100 CD.

Based in Montreal before a recent move to Berlin, Ombossa appeared on DVS1's Mistress Recordings in 2015. Lately he has started his own imprint Zu:Hause with Akatana, and has collaborated with the latter on an album. The young and talented French producer is now set to have another EP released on Fracture in the early months of 2019. ZI brings you on a trippy ride that will drive dancefloors in a second state, it is tasteful techno, delicate yet powerful. On remix duty, Svreca in pure Semantica fashion goes darker and makes it more industrial for a perfect tool in the darkness of a warehouse, or a long and almost endless tunnel without any light.

The first record on Unterwegs sees the forces of two Bristolian producers: Decka and Other Form, combined on a split EP.

Decka's tracks are formed with pulsating, mind bending synth trips making you lose yourself into staggering locked grooves; both are killer dance floor weapons in their own right.

Other Form brings exquisitely produced, earth-shuddering artifacts to the B side. Concentrated in dark and heavy low end, both tracks show off Other Form's eloquent sound design and ability to sustain tension.

Johnny Clarke & King Tubby & Dillinger & Prince Jazzbo feat. Tommy McCook & The legendary Aggrovators & The Mighty Diamonds - Soul Jazz Records presents Bunny Lee: Dreads Enter the Gates with Praise - The Mighty Striker Shoots the Hits!

Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny
Lee - a living legend, one of the last of the great Jamaican record producers who helped shape
and define reggae music in the 1970s from a small island sound into an internationally
successful musical genre.
From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early
pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the
Kingston music industry. In the 1970s he rose up to become one of the major record producers
in Jamaica alongside Lee 'Scratch' Perry and the other 'small axe' producers who broke the
dominance of the 'big tree' producers that had ruled Jamaican music in the 1960s.
Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger,
Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The
Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s
roots, dub and DJ sounds.
During this era, 'flying cymbals', crashing reverbs, dark echoing thunderclap gunshots and
other 'implements of sound' filled his record productions as Bunny Lee explored the outer limits
of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A
Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a
double-sided three-minute intangible history lesson etched in wax.
Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at
the beginning of the nascent British reggae music industry as record companies such as
Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding
West Indian communities living up and down England. Lee encouraged other Jamaican
producers to do the same, including Lee Perry, Harry J and Niney The Observer and also
became a conduit between the British music industry and numerous younger Island-based
producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for
royalties.
Bunny Lee's first recordings in the late 1960s were mainly rock steady but as the 70s
approached the music soon began to mutate and slow down into 'reggae' as the sound became
heavier, more rootsy and the sound itself began to change with the explosion of dub.
Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had
become a major producer, capable of working with whoever he chose as world-famous singers,
DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but
stable set of crack session musicians who he named The Aggrovators.
Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was
definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny
Lee's career stretches over five decades and he has upwards of 2,000 production credits on
vinyl.
This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive
photography. The album is available as a CD pack with 24-page booklet, massive triple LP vinyl
with digital download code, house inner and full notes, as well as digital album.

The sensational contribution of the Roman project Fire at work, risen over the millennium end, delivers the next 12 release of the label.
The sounds and visions of the two producers are coming directly from the most radical electronic counterculture's pot, the industrial dimension and the radical sound choice seem to be the best and right way to tell the story of a dystopian reality, a meaningful choice useful to criticise humans and their civilisation. The complex of the Fire At Work production represents an act of cultural resistance, therefore Monolith Records seems to be the right and natural follow up of a long multidisciplinary journey. This release is the meeting point of two generations sharing a similar electronic countercultural background, in the middle of the ruins of a modern world which is nothing but a ripped-off planet, a consumed scenario where the radicalisation of the exclusivity leads the beings to the recurring Post-humanistic alienation. The music journey develops through cuts deliberately violating the borders of genre and style, leaving to the dark decaying soundscapes the duty to shape coherence. The overall dimension of this work floats in a tension between the mental form of the synths and the implacability of the concrete drumming asset, that alternates straight and broken beats merged by the same obsessive character. In order to consistently remark the intention behind the production, the Remix by hypnoskull for 'Re_Sample The Future', a tool shaped by an heavy distorted timber that brings lyrics to clarify the common denominator of the EP: a totalitarian vision of reality involving the rejection of the status quo, together with the roles and the scopes of a totally dehumanised system. The 2.0 Man is unarmed and similar to a cadaver, and his desires and senses are reconciled by a perpetual stream of information, a data replacement of reality. The one way direction streaming can be interrupted by noise, as the element able to distort meaning the unexpected element occurring in the middle between the matrix of the message ed his audience. Given such conditions the style choice becomes part of the concept itself, and it is far from any kind of 'induced' choice.

Heavy-weather, beyond-good-and-evil soundsystem poetics, channelling raw and rootical techno, Isolationist abstraction, and dub at its most turbulent and raw-nerved and space-time-warping. New worlds ahead... Equal parts tuff, tail-thrashing dancehall pressure - see 'Hell Dub' - and art-of-darkness ambience and introspection, culminating in the slow-burning, third-eye-opening 23-minute dreamweapon, 'Vertigo'. Part of the Young Echo crew, Ossia embodies the best tradition of Bristol underground music in that he doesn't pay much mind to tradition, just does his own thing. Yes, Devil's Dance shares DNA with those sullen masterpieces we will always associate with the city, from blunted 90s street-soul/hip-hop to sub-loaded dubstep - but like his forebears Ossia is ultimately a mongrel breed, drawing from his own, very contemporary and idiosyncratic well of influences: grime, jazz, steppers, dub, post-punk and industrial abrasion, concrète minimalism... Devil's Dance could easily be not just a forbidding, but a suffocating proposition. But even at its most angst-ridden it feels lithe and aerodynamic, its darker impulses both intensified, and offset, by a pure soundboy's delight in detail and colour and higher dancefloor mechanics. The music pulses with energy, a fever to communicate...and Raki Singh (violin), Jasmine (vocals) and Ollie Moore (saxophone) add vivid flesh-tone to the punishing, plasmic electronics. The record was mixed at an infamous, subterranean Bristolian recording studio, using an arsenal of spring and plate reverbs, modded pedals, tape-delays and compressors: systems of black magic crucial to the album's intense presence and physicality and carefully modulated dread. In the end what we are witnessing, and experiencing vicariously, is a purging, an exorcism: find the devil, dance with the devil... and then chase, chase, chase him out of the earth

This March, the New York City-based imprint Absence Seizure will see its joint founders Abe Duque and Matuss join forces once more to deliver 'Seizure No. 11', following up on their recent collaborative effort 'Seizure No. 10' with another four tracks of soulful, stripped-down techno.

The EP begins in quintessential Duque fashion, running quirky and soulful melodies over a throbbing bassline and emotionally charged synths, whilst tying in the acid sounds that have been a staple of his music since his very earliest releases all the way back in 1993 as a regular in the New York wave of acid house and underground techno. '22 October' presents us with a progressive and skilfully executed cut, toning down some of the more muscular techno he sometimes produces in favour of a more freeform and chilled out vibe that layers funky synth melodies over bouncy rhythms and drawn-out sonic ambient textures.

The baton is then passed to Matuss for the remainder of the EP, beginning the journey straight off the bat with 'Between 4AM and Basement', beginning as an altogether more threatening number than the release's opener. The minimalism of the stripped-back beats instantly builds a dark atmosphere, creating a compelling flow through the track that opens up into a shuffling house-tinged beat and dreamy background soundscapes that carry you gently along for the ride.
The muted rhythms of 'Meet You at the Back Door' morph and skip around from one beat to the next to forge a jumpy and infectious musical trip that will instantly catch you up in its driven grooves. The EP's finale 'Moon Guardian' then opts for a different tack entirely, starting out with a confident, breaky beat and adding layer upon layer until the track reaches an exhilaratingly multifaceted climax. Unsettling cosmic ambience, distorted vocal samples, crescendos of noise and the ongoing and constantly evolving beats are brought to a perfect balance in this track, bringing the EP to a mysterious and gripping conclusion.