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TE RECORDS presents on this beautiful 12" picture disc collection six tracks of electro-pop music, yet all songs sound different from the other. Smea, who has produced the music, has invited six vocalists from Gothenburg (including himself) to put lyrics on top of each track. The result is synth, dark wave, techno, break beat, electro boogie sounding coolness!

teppas Records presents 'Osaka Steppas' Vol. 3, the third in a series of releases showcasing the Japanese underground dub movement. This edition features Osaka producers Hiroshi and Roots Masashi in collaboration with Spanish producer Ojah and well-respected UK singer Rudey Lee. The Osaka Steppas' raw and unrelenting sound developed in the subterranean clubs of Osaka, a port city famous for its counterculture night life. Inspired not only by the sounds of Jamaica, but also drawing inspiration from UK and European soundsystem culture with enough bassweight to test even the toughest of soundsystems. Presented in a beautifully designed full colour sleeve inspired by the works of the legendary ukiyo-e woodblock artist, Hokusai. This release is not to be missed.

Side A features an earth rocker riddim from Ojah & Hiroshi, with conscious lyrics sung by the legendary Rudey Lee.

Side B features a much sought after dubplate from Osaka producer Roots Masashi, a deep, dark & mystical steppa.

Next up on the ever-eclectic XVI Records, a shadowy figure steps into the spotlight: enter the mysterious Captain Over, whose dark yet soulful bruk-infused tracks soundtrack the next stage of their voyage towards the sun. For his debut outing, Captain Over calls on the abstract vocal stylings of the legendary Trim (Roll Deep, 1800 Dinosaur) on opening track 'SICK'.

Showcasing why he's one of the most iconic and forward-thinking MC's to grace the mic, Trim's dulcet tones twist through a jungle of shuffled beats and subterranean sub-bass, an eerie child-like melody drifting overhead.

Clack Clack and No One Ever Really Flies inhabit a more dancefloor friendly space, their unique syncopation, fierce instrumentation and relentless energy open up the dancefloor for some real get loose moments.

On the remix, they hand the controls over to XVI homestay Books (following on from the success of his previous 'Feel It In My Bones' and 'High Praise Edits Vol 1' releases which won praise from the likes of The Black Madonna, Moodymann, Gilles Peterson and Seven Davis Jr) Books expertly crafts a cosmic footwork jam, full of his trademark soulful chords and eerie midnight saxophone licks.

As he prepares to launch his forthcoming EP 'No-One Every Really Flies' into the cosmos ; Captain Over is beginning to cement his place as one to watch in the UK underground - a sequel EP featuring grime upstart Nico Lindsay is scheduled for release later in the year, with several more collaborative works in progress.
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Part 1 of Rommek's 'Set in Stone Trilogy' for Blueprint sets the tone of the EP with an ambience of dark, atmospherics that build intensely leaving you with a feeling of anticipation of what is to come. Rommek then delivers 3 tracks of rhythmic techno from the driving 4/4 of Obsidian, to the gripping 3/4 of Rhyolite, finishing with the disjointed spatial beats of Scoria. IDM sound design constantly evolving the menacing undertones.

Tachyon Audio is a vinyl label that's focused on sounds in the techno realm targeting sweaty, dark dance floors, with large, high-quality sound systems.

Inhabitants come back strong in Mutations Volume II, Tachyon Audio's second offering. These two primates are often found inhabiting dark spaces, forging ahead on complex math equations. Their distinct, driving, mathematical, and drumming techno is a result. Expect more solid work and performances from these two mysterious beings on Tachyon Audio as the label continues its progression.

Tachyon Audio's second release follows a similar format to the first, in that, TAC002 is a diverse EP that touches on techno sounds that are helping to lead the march forward into the future of sound production and style. The second Tachyon Audio release also comes from the mysterious dark studio of Inhabitants, who build off their first, and display their precise, technical forms of production.

The A-side track, Mut11 (A1) is a sci-fi exploration that pleases the ear with thick sub and low basses, along with a pitch-twisted melodic element, and the Inhabitants distinct sound effects and automation. The track has a strong impact immediately, as you can feel the intensity of elements being added, manipulated, and combined, and a sturdy, grimy feel pervades the piece with an interesting driving rhythmic percussion.


Side A ends with two separate open-source NASA samples. The first, Sounds of Enceladus - Radar Echoes from Titan's Surface (A2), is a locked groove and according to NASA, 'was produced by converting into audible sounds some of the radar echoes received by Huygens during the last few kilometers of its descent onto Saturn's moon, Titan. As the probe approaches the ground, both the pitch and intensity increase. Scientists will use intensity of the echoes to speculate about the nature of the surface.'


The second sample, Cassini - Saturn Radio Emissions #2 (A3), is another locked groove. The sound as described by NASA, 'Saturn is a source of intense radio emissions, which were monitored by our Cassini spacecraft. The radio waves are closely related to the auroras near the poles of the planet. These auroras are similar to Earth's northern and southern lights. This is an audio file of radio emissions from Saturn.' These samples are poised for reuse in production and make for good intro and looping material during performances.


The second side of the EP starts with Mut1 (B1), a track that is well-rounded percussively, with a strong kick drum driving the track forward. A simple looping and effected tom drum also helps keep a good movement to the track. An ominously melodic pad that evolves subtly throughout the track helps to keep the Inhabitants err present throughout the track.


Mut8 (B2), is another acidic venture with solid percussion. The looping and other melodic elements provide a solid stricture, with the more adventurous sounds being placed and effected incrementally with distinct Inhabitants flare throughout the track.

'Turquoise', that is Turkuvaz, is a French-origin word inspired by the color of the Mediterranean, located within the borders of Turkey. Meaning; blue is the color that plays the green. At the same time it is relative. Because both colors are in it, if you love blue you will see blue, if you love green you will see it green. It means heaven and earth. The eternity is turquoise... The eternity is infinite. At the same time; the boundary between the earth and the sky. Some will find love in it , some will find serenity, some will remember the loneliness and find sadness, embracing some with zeal and reminiscent of the return to the nest, the power of holding hands tightly with two hands.And according to my opinion, the concept of life, the mortal world, is how we see these lands curtained until the last breath of life that we have been living on for centuries.There are billions of beings in our sky and on Earth that do not attract our attention, We can not see, can not hear, can only feel, there are enough lights to count and never disappear in the stage. This EP that you hold in your hand is a reflection of it.
Music was the easiest way to reach you. In doing so, the motto was 'never disappearing at the stage'. I know, because if nobody hears me, God, the real dominion of light the true owner of all the darkness will hear me.

Each sound I created, I filled it with a light and I added a little more sand to the clock. Sounds I created is to show you your own technique of finding your way to light, to make you understand that you are not alone, and that there is someplace really there for you. Without much effort, resting and reviving.

I believe that every one of us who lives on earth has a specific, holy purpose. The important thing is to find and catch it. Our inner journey is to be able to complete our enlightenment as spiritually as possible. And I still believe that we always need music to do that. Because the sounds; they will never disappear.

Turquoise, which is the work of this enlightenment period, which I have lived and found to be my self, will be a source of light for you and help you find God who lives in you.

WHITE RING mark a triumphant return with a brand new full-length Gate Of Grief, due out on Rocket Girl on 22 June 2018. Their debut album arrives a full eight years since their benchmark EP, Black Earth That Made Me, which sold out almost instantly, making their records some of the most highly sought after on the underground scene and earning them a cult following across the globe. Swerving from aggressively abrasive to beautifully ethereal, musically they draw from varied and challenging palette, whilst tackling themes of loss and acceptance due to struggles with drug addiction and existential dread on a broader scope.

WHITE RING were originally formed by Bryan Kurkimilis and Kendra Malia, before they were joined by Adina Viarengo, with Bryan and Adina currently touring as a duo. One of the most acclaimed proponents of the "Witch House" movement, WHITE RING blend heavy, distorted electronics with eerie, unsettling vocals. However, their new material, created over the course of seven years, pushes the boundaries further, subverting genre ideas and mashing them all together, with industrial, metal, rave, chopped and screwed, rap, grunge, neo folk, post punk and new wave all in the mix. As Bryan Kurkimilis explains; 'We treat our influences like tools to create a certain feeling. We are interested in covering more ground than sticking to a certain formula.'
Bryan and Kendra originally met on Myspace in 2006. At the time Bryan lived in New Orleans and Kendra was in New York, and they didn't even meet face-to-face until 2008 after they had already released a few singles. In 2010 they released the EP Black Earth That Made Me, which was a collection of songs that they mostly recorded before they met in person. The record confounded expectations by selling out immediately on pre-order, making it very rare and highly sought after, with copies going on Ebay for large sums. It was reissued by Rocket Girl in 2011 and still continues to sell in voluminous amounts.

They started playing live in 2009 and rapidly grew a reputation for their captivating performances, usually bringing their own lighting equipment and putting on a spectacular laser show. They have played for large crowds in their hometown of NYC and toured the UK in 2010 in support of their sold out split 7" with oOoOO, playing InTheCity and SWN festivals - which were their first shows outside of New York. They have since shared the stage with the likes of Cold Cave, araabMUZIK, Liturgy, Blank Dogs, Gatekeeper, Blondes, oOoOO, Clams Casino, and others.  
They started recording Gate Of Grief in 2010, with the hope of exploring new musical territory, however they took a while to find their path. Bryan and Kendra had some tough personal battles to fight, a sense that pervades the whole album. Thematically it delves in to some pretty dark places whilst exploring the concept of time and what it does to people, relationships and society. As Bryan explains; 'There is a lot of tragedy in this album but there is also hope at the end of it.'
By 2016 pressure was building to finish recording, however due to Kendra's ill health, they needed to bring in someone new to assist with vocals. Fortunately they found Adina Viarengo, who had played in various bands and gave them the impetus needed to complete the album. Shortly after meeting in Brooklyn, Bryan and Adina moved to Joshua Tree, California to finish recording the album, before settling in Massachusetts. Her vocal style fitted in seamlessly with what Kendra had been doing, and although she sang on half the songs, it's almost impossible to tell who is singing on which track, thus making her the perfect addition to the band.
Gate of Grief can be considered the second part of Black Earth That Made Me, or rather, they are the first two chapters in an overarching trilogy about evolution. As Bryan explains; 'First you are born but then you realize what you are and what is against you and it's a flood of emotion that you can only hope to hold on for and let it pass.'
The album title, Gate of Grief, refers to the real gate between Africa and Saudi Arabia that is believed to be the spot where the first humans migrated out of Africa and went on to populate the rest of the world. The album art ties in with this concept, with an image depicting a group of settlers in the USA in early 1900 during a parade. They were actually from a cult in the early 1900s in Bryan's hometown of Fort Myers, Florida.













M 13) Burn It Down

Monday Off is a vinyl only record label from Brooklyn, New York, founded by Mary Yuzovskaya. Its ethos is to showcase artists that explore techno's hypnotic side; specifically where trippy and dark music goes deep yet dynamic. For the third release, NYC/Berlin/Washington DC transplant Arthur Kimskii dives in with a heady trio of his productions. Title track 'Verbal Variance' slowly unfurls with a myriad of textures and sounds to both confuse and delight the senses, while 'Swan An Ocean For You' takes on similar terrain albeit kicked up a notch and warmer in tone. 'Basement Moves' is an emotive and partially beat-less affair steeped in layers of noise, and MOFF favorite Stephanie Sykes strips the A-side down for a sinister and chugging remix.

After welcoming Saule with an appearance on SUBALT015, the incredibly talented producer steps up for a full EP on Subaltern - a tour de force of distinctive, dark and original productions.

*A: Gorilla Glue
Starting off the EP with a bang is 'Gorilla Glue', a heavy-hitting collaboration with original Subaltern badmen D-Operation Drop - pressure is the name of the game. A sinister intro paves the way to a stomping bass-line topped up with growling synth layers, which culminate into a captivating melody that will stick with you. Get ready for the ride!

*B1: World 8
'World 8' dives into a video game-like vibe through quirky 8 bit synths playfully matched with a massive wall of bass. Gnarly breaks round off a masterful execution of sub and space alternating in a trippy scenario: Super Mario had a little bit too many mushrooms this time...

*B2: Close Chatter
Moody dark pads set a bewitched vibe in 'Close Chatter' a goose-bump inducing drop will leave you constantly hungry for more. An oddly pleasing journey, this is the typical b side-that-could-have-been-a-side track.

Wislov might be a new signee to Knitebreed, but he has been releasing material for years, and the Spanish (not Russian) maestro is already known around the world for his awesome breakbeat creations. It was only a matter of time before a label snapped him up, and he is a producer easily capable of dropping huge tunes in both dark and lighter stsyles. This EP showcases his talent, with four tracks specifically designed to compliment the Knitebreed sound while carving his own niche into the label.

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

Debütalbum des britisch-nigerianischen Electronic-Produzenten und Singer/Songwriters Tony Njoku, ein Globetrotter, aufgewachsen zwischen Lagos und London, dessen bewegende Klangbilder aus den kürzesten Popsongs epische Abenteuer machen. Vocal-Club-Beats für Ästhetiker. "Exciting blends of African percussion, falsetto croons and dark synths." - Fact. "Fusing abstract beats with his angelic tones." - Mojo. "Expansive electronics flirting with psych and soul." - Clash.

Extremely hot on the heels of 'A Library Excursion', Earl Jeffers teams up again with Don Leisure, his partner-in-beats for another EP of Darkhouse Family goodness. Following on from their highly acclaimed debut album 'The Offering' from late last year on First Word, the Cardiff duo have hand selected a group of friends, dons and legends (including DJ Spinna & Kaidi Tatham) to serve us up 'An Extra Offering'. Five remixes curated by the crew.

For the refix of 'The Accession' (which originally featured Kamaal Williams, Dave Newington and Daf Davies from Boy Azooga), label-mate Kaidi Tatham kicks off with some down-low bottom-heavy boom bap, before switching up the tempo mid-way for a blast of his inimitable jazz-funk bruk boogie.

Next up we're honoured to have not one, but TWO tracks from the Brooklyn legend, DJ Spinna. His Galactic Soul rub of 'Another World' flips the original into a deep soulful 4/4 house cut, featuring the lush vocals of Esther (and one Charlotte Church on backing vocals, pop fact fans).

Then there's DJ Spinna's Galactic Funk take on 'Just So You Know' with the marvellous Vanity Jay on vocals. This one is on the same mid-tempo tip as the original, but with that unmistakable Polyrhythm Addict flavour of big kicks, crisp snares, hench bassline and sweet spacey synths.

For the 'GAEA' remix we keep it Cardiff and introduce the man like Alfie Swan. Doubling up the tempo of the original, this adds some seriously wavy sonics and flips the groove entirely, creating a seriously innovative cocktail of riddims. One for those not shy of some jazz ethics in the dance.

And to close out this offering, Andromeda Jones lays down a ridiculously delectable broken beat mix of 'Journey To Love', this one again featuring Vanity Jay. No messing with this one, this is straight dancefloor fire, transforming the hip hop soul track into a future boogie heater. One for the ravers.

This EP illustrates once again Darkhouse Family's wide range of influences and sounds, as selectors and as music makers themselves, and is no doubt one that will stay in your box for a very long time...n

Warm return once again... One of the most consistent and influential agencies to have operated in the 2000s, the collective continue to develop their original agency, events and record label, and things are heating up very nicely. Following soul-arresting releases from Elliot Lion and Face + Heel comes this four-track odyssey from Belfast's Lunar Orbit Rendezvous AKA LOR. Ready for take-off

Our mission is set with 'Mystery To The Viewer', but what is the main mystery Is it the gravity-defying thrust of our engines or the identity of the anonymous (yet well spoken) narrator Listen closely for clues amid the heavy pulsating chords as we break away from the earth orbit and plunge deeper into the stars.

'In This Detail' sees us hurtling further and further into the dark unknown. There's a deep chilling aesthetic at play here as LOR makes his 808s weep with the loneliness only a long-stay astronaut can sympathise with. In perfect contrast, the isolation is balanced by the direct and vital 'Oriole'. One of LOR's earliest projects, updated with all the skills and techniques he's learnt on labels such as Exit Strategy and Cin Cin, it's a vital composition that rises and rises as we engage hyperspeed through the cosmos. 

Finally we land back on our home planet to the marching momentum of 'White Light'. Almost stately in its pace and rhythmic stride, things suddenly take a turn for the intense as a warping bass siren triggers a much darker direction and a series of spasmodic kicks and heavily shelved filters. Welcome home...

Born in Munich, Sebastian Schnitzenbaumer aka BELP partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, became the basis for his musical development. Having travelled extensively with a closer connection to London over the years, BELP kept his base in Munich, becoming part of a small alternative scene questioning the predominantly rich and posh surface of the city. Blending jazz, dub and noise, an emphasis on darkness in his broken beat oriented works evolved as a reaction to a rather hedonistic society preferring warm and uplifting sounds.

The newstyle invented by the Espylon familly is a real new style as a scene... no excitation and no minimal. This is just let-it-go-pur-techno... They sell loads of their stuff on direct to the public and we are only re-seller. Real proud to have a chance to do it... but yes : original creation we got here. Pure Perfect musical design for parties... full of love and precision... needed music for dubbers as well as for Hardcorers... No frontier no blame, no bad vibes no darkness... maybe sometime a pinch of nostalgy but it's « just a game ». Original hard life transformed into bloody good vibes ! I love you guys !

After A First Doom Tune On The A-side You'll Enter A Dark Breakbeat Release.. Rare Style From Sarrin Assault... This Record Encountered A Great Success But Was Pressed Too Mutch Copies ^^
So Here It Comes For Your Greatest Joy At A Cool Price :)

Shunter, the new album by the Berlin-based duo Driftmachine, is their most ambitious work to date. Although instantly recognizable, featuring their trademark Kosmische and Avant-garde sounds, it also presents a new journey into abstract and hallucinatory worlds. Filled with eerie textures, their electronic visions are darker and more vaporous than ever.

Driftmachine's fourth album (also the fourth one for Umor Rex) offers a new perspective on their ample sound spectrum and systemic narratives. Shunter overlaps and mutates their post-industrial-dub motives. It was conceived and produced in search of a very different kind of imagery, with sections of noise and field recordings intersecting with analogue sounds, a mixture of contrasted fragments, where the usual creative process of modular-synthesis leads Gerth and Zimmer to the discovery of a dark, hazy and diffused experience. There is a protean quality to the rhythmic elements, with tempos constantly contracting and expanding, a departure from the mono-beat-rhythms of "Nocturnes" and "Colliding Contours". The first half of Shunter is made of four pieces named "Shift", although individually separated, they are conceptually linked and can be understood as a sort of score. Imagine a late stage of the industrial revolution, with the interaction between heavy machinery and human beings. The second half of the album is not completely separated, but it has three other substantial melodic moments. Somewhere between the hauntological and the realms of archive-music, a huge range of subterranean beats and distinct patterns dotting the landscape of early electronic and post dub music.

All songs written & produced by Driftmachine (Andreas Gerth & Florian Zimmer), Berlin.
Mastered by Rafael Anton Irisarri. Design by Daniel Castrejón.

Electronic music label Sheik 'N' Beik announces its new release SNBV013, an EP called Daisy Cutter by JEM. This EP is the third release in their series aimed at celebrating the diversity and history of New York and its boroughs. As Sheik 'N' Beik's hometown and source of constant inspiration, the label focuses on spotlighting and paying homage to the five boroughs of New York including Manhattan, Queens, Brooklyn, Staten Island
and The Bronx. Each borough's flag is given a modern and colorful twist via the cover art and design of
each outer jacket. The first release in the series, Manhattan, featured local NYC hero and co-founder of
Voodoo Down Records N'conduit, and the second, Kathisma resident Mr. Dello's Vaadhoo EP. The new EP from JEM, dedicated to The Bronx, opens up with title track Daisy Cutter, which directly sets the tone of the release with a straightforward, dynamic techno, elevated by an eerie, dark atmosphere. It
goes on with Neb, a downtempo second track with a lighter tone that progressively gets back to the initial
mysterious mood and capriciously brightens it with warmer back-and-forth sounds. Next on the 12' is
Semiotic, a third track structured by a clever balance of deconstructed rhythms and sparse acid and synth
melodies in the continuity of the lighter, warmer mood previously built up. The EP ends with Temple, with
a more aggressive accent animated by several lighter melodic layers and a stifled background bass.

The remarkable thing about BELP's new album is its two-dimensional function. It works both on a loud and a quiet volume. Some tracks would go down well as a club track, like opener 'Travelling Thru Galaxies'. This track brings back memories of the best work released on the Hyperdub label, with it's fine combination of synths and irresistible, dubby beats. Elsewhere, 'Off Ending' might start off as 'dancehall-but-not-quite dancehall' track but when half way the synths kick in they change the feeling of the track to a more cerebral level.

BELP is the artist name of Sebastian Schnitzenbaumer. Born in Munich, he partially grew up on the Seychelles islands off the coast of East Africa. Educated in classical piano, those two gravitational poles, European and African influences, form the basis for his musical development. Currently he has close ties to the (dub) Sausage Studio in Hackney, London. In his hometown Munich, the Bavarian capital, BELP took a central role in a series of discussions and events aiming to improve the image and possibilities of Munich, which to his regret is a predominantly posh and hedonistic city where optimistic and uplifting music take central role.

In different guises Schnitzenbaumer works as a much needed antidote. Since 2013 he runs the Schamoni label, focusing on supporting local artists like Leroy and Protein. Its sublabel Jahmoni is responsible for recent works by international artists like Aaron Spectre and DJ Marcelle/Another Nice Mess.

BELP's music is dark, serious and layered. His love for dub and dancehall shines through in his broken beats. At the same time the synth layered tracks give the album an atmospheric feeling.

This also is what makes this album essential: it's refusal to be pigeonholed. The last track on side A, 'By Beauteous Softness', is an a cappella rendition of a 17th century Henry Purcell piece, beautifully sung by Alexander Schneider. This track is preceded by 'Transmission', which is a brilliant abstract work, sounding like wind closing on you from all sides. And you can sip a cocktail whilst listening to the jazzy 'Time And Again' (BELP once worked as a jazz pianist).

It's clear to hear BELP took a long time recording this album. Every note, synth, drum beat, is carefully placed. But what the album might lack on spontaneity it more than compensates this with its sheer musical beauty. This also reflects on the abstract sleeve, like 'Elephants' designed by BELP himself.

Enjoy this album on big speakers, as background music or simply on headphones. There will always be new sounds and layers to be discovered!

For our next Excursion, we're off to the library. In search of library records that is - you know the type, the crazy rare records used for soundtracks and such and such. We have a sick selection of synthed-up beats and pieces chopped together by one Earl Jeffers, making the most out of his international library digging card* (*not a real thing).

For those that don't know, Cardiff's Earl Jeffers is one half of Darkhouse Family, regular family at our sister label, First Word, on which they released their debut album 'The Offering' late last year. Earl is a prolific producer in his own right, also releasing over the years under the aliases Chesus and Metabeats on labels like MCDE, Fat City and Local Talk, collaborating with artists like Byron The Aquarius, Action Bronson and Kamaal Williams / Henry Wu, turning his hand ably to house, hip hop, jungle, jazz and more. All this in addition to running his own label, Mélange Records.

A dedicated digger and record collector first and foremost, Earl has provided us with a quadruple set of heavyweight stuttery sci-fi boom bap. In Earl's words: "This record was mostly inspired by my penchant for the more electronic / synthesized jams, mostly replayed from the original compositions then thrust in to 2028 and beyond...."

The third release on the sister label, NEW YORK TRAX Imports, comes from the legendary Dutch producer and founder of one of the most eclectic underground record labels, Vincent Koreman aka Drvg Cvltvre of New York Haunted. Since 2009, Drvg Cvltvre has been working on his own blend of dystopian acid, no wave, and experimental house. Respected in the international underground for his groundbreaking work in experimental techno as RA-X in the 90's on labels like Bunker and KK Records, Drvg Cvltvre comes from a DIY punk background and opts for hard work rather than hollow pose. The 4-track EP for NEW YORK TRAX Imports is an accurate representation of his style: dark and melancholic, but also uncompromisingly intense.

Presenting 'Envelope'. Album written, produced & mixed by Milan W. and pressed on 180g vinyl, by Ekster. Coming out on the 6th of June 2018, with foil-stamped cover-drawing by Gerard Herman. Mastered & cut by Helmut Erler at Dubplates & Mastering.
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Milan W (AKA Milan Warmoeskerken) is an Antwerp-based musician. In 2015 he released the Slo Mo cassette, on local label JJ Funhouse. The Intact LP a year later. Compositions constructed from gentle, yet persistent, rhythms. Intricately textured downtempo echoes. Brain-dancing, rather than four-to-the-floor raving. 2017`s split with Ekolalis, for The Hague`s BAKK, made clear the direction Milan`s headed in. His contribution being a seventeen minute float. The kick largely removed. The textures cut-up, expanded and magnified. Envelope, for Ekster, builds on this work.

The harlequin turns the handle. The contraption sucks in air, and breathes. Blows out tone poems. Wordless ballads that soundtrack enchanted scenarios. Issues forth magic. A sorcerer`s apprentice casting its spell. Animating the inanimate. To everything a life. Sets the frozen fluttering. Pirouetting in red shoes. Illuminates what was dark. Astma sings a Gamelan lullaby. Summons comforting angels to a post-Industrial landscape. Glaasjes has Jazz ghosts inhabit an empty bar room. Spirits stealing excuse-me`s under its deserted spot. In Limbo amplifies their whispers. Lead soldiers court jewellery-box ballerinas behind shuttered shop fronts. On Heraldic Snippets, a tin infantry marches. Ten thousand men up to the top, and back down again. Keys make-believing that they are massed brass and fife.

The bellows pump, and the pipes all the while wheezing. An automaton philharmonic at the bidding of a steam-punk master. Analogue and digital. Clockwork and glitch. Malady finds sounds isolated, extrapolated, mutated. Orchestral`s organ-grinder moves with urgency, and alchemy. Spinning straw into gold. Snare rolls become bubbling mercury. Metallic, yet fluid. Racing at the speed of flight and escape. Slope is the music of water chasing through crystal caves. Slow Runner, a funeral crawl. Shoved into motion by a drama of strings remembered.
Like the charismatic Rat-Catcher of Hamelin, the harlequin turns the handle, and we bang the cup.

Rugged and lustrous, Nacre is Air Max '97's first full-length release. Written between Melbourne and Berlin and mixed in Mexico City, the album bears traces of fleeting yet profound geographic and emotional immersions. Air Max '97's signature baroque momentum is suffused anew with pungent and labile tonal atmospheres, through which organic sonic events and incomprehensibly abstracted vocals wreathe. The record's disposition spans the darkly playful arpeggios of Veneer to the dirge-like Kermes and paranoiac Karyon. Fiendishly twisting tracks are interspersed with more tender moments such as Queriensteiger, Nacre and Gousse (formerly released on Stoscha's 2017 Klink compilation). The totality is uncompromising and affective, yielding a broader spectrum of Air Max '97 sonics than ever before. Nacre will be released on 12' vinyl and digital on 1 June 2018. Air Max '97 will tour a new live show in support of the release.

Described by Crack Magazine as a 'hypnotic slow-burner' and noted by Ransom Note as one of the most interesting albums to emerge in 2017, not only did Dollkraut's second album 'Holy Ghost People' herald the launch of Jennifer Cardini and Noura Labbani's adventurous new label with fitting mystic gusto... It also gave us a beguiling LP that keeps on giving, exciting and inspiring over a year later. Proof can be found in these three superlative remixes. Subversive Berlin duo OTTO take the lead with a warm, Arabic twist on the album opener 'Bonnie Says' by lifting the groove with a little organ-squeezing spring while maintain its faraway haze and mystique. Accurately hyped Romanian-also-in-Berlin Borusiade follows with an overwhelming floor-ready update on 'Have I Told You'. Already a familiar face with the label, she weaves a chasm-like new-wave narrative that sucks you deep into the mix and galvanises the pundit attention she's getting right now. Finally Mannequin Records founder Alessandro Adriani joins the party with a tunnelling twist on the somnambulant aesthetic of 'Valium'. Flipping the dreams for a much darker 3am reality, it will leave your dancefloor pining for more. Don't worry, there's plenty more to come. Dischi Autunno are only just warming up...

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

From deep inside of Berlin's 24/7 darkrooms, here comes DJ City's debut maxi single. Two house trax made out of body fluids, pain and laughter after, to accompanize the teenage sex drive that want never ever fade away.

Two dark, adventurous and intense mid tempo mind benders by the mysterious producer K100 SIGNAL.
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(...The signal was lost along ago. A "slowtard" rhythm surfaced. as you get deeper into alignment you discover the deconstructed beats from another decay. K100 signal is an elusive project produced in the pitch black code of indulgence...)

The Debut Release On Mule Musiq By Italian Dj&producer Toto Chiavetta. I Have Keep On Checking His Releases Since His Release 'become One' On Osunlade's Yoruba Records, It's Still My Fav Track To Play. Toto Has Been Releasing Eclectic House Music From Mighty Innervisions And Yoruba Records In The Last Few Years. Magnus Ep Start From Floor Killer Tropical Tech House Track 'higher Than A Bird',it Will Be Instant Summer Anthem. On B Side,'magnus'&'first Day Without Her' Is More Dark Techno For Big Room But We Still Can Hear Some Musical Elements.

With this new work Maurizio Abate recovers the discourse started with Loneliness, Desire and Revenge (2016) but with a different narrative sensitivity. The symbolic air that you breathe suggests a personal and universal experience in which thoughts and perceptions remain as enveloped in an eternal cosmic wheel. It's a condition that flows sincerely into an emphatic introspection and identification between the stasis of an inner soul and the flowing vitality of stagnant aquatic landscapes. In this direction the music of Abate always condenses multiple ranges of different emotional spectra evoked by profound naturalistic references. The airy openings of the strings, the distant whispers of the harmonica, cascades of phrasings more calm or more torrential can lead into the magnificent climax of the Nostalgia. The string arrangement for violin and cello by Lucia Gasti introduces in a dimension of idyll, in elegiac passages of touching poetry almost of chamber music but at the same time wet by the pastoral and bucolic moods of autumn landscapes, they are paintings imbued with different flavors and colours that recall the light and the candor of the Venetian tonalisms or the moving paintings full of meaning of Tarkoski. In the darkest and saddest moments the open chords are like suspensions of unresolved questions and torments, but the cathartic finale with a free and minimalist piano prelude to possible future glares, almost to perceiving that even where there's stasis the sun can still shine the hope for the new on the clearing of the pond. Remains the feeling with that stylistic "freedom of expression" dear to the visionaries Fahey and Basho, but also a clear interpretation of the expressive possibility of the lead guitar, absolutely lyrical and contemporary for refinement of the crystalline sound, which places this work in parallel with the basic acoustic tests of others great like Jim O'Rourke, Jack Rose or James Blackshaw.

Danny McLewin (Psychemagik) and Jamie Cruisey have a new label of original signed artists called SPIRITS. The first release is from Mexican hotness 'Lokier' of She Made Monster and 'Jason Greer' aka 'The Machine', one of the Californian undergrounds best kept secrets. They met in 2015 at a festival in London and after spending a few days together, became musically obsessed with each other. That summer, as Jason bounced around Europe, he stayed with Lokier in Barcelona for some weeks and after long night walks, some tapas and absinthe bars they came up with their first EP together.

A1 "White Room's" slo-mo headnod film score, kick starts the EP, brooding synths buzzing with electric cocaine gloss, their oscillators fluttering like cyborg butterflies around the pulsating strobelight beat. Creepy.
A2 "Stained Glass" hits tough straight out the gate with subterranean bubbling acid bass and charges headlong into deep psychedelic territory with a goth-inspired guitar, reverb on 11, turning the track into a next-level robo-Giallo monster!

B1 "Pearly Hate" begins as if a menacing swarm of bionic rave bees is slowly surrounding you, the tension of their impending drone amping up steadily as your brain thinks: Do I run This midtempo Carpenter-esque jam is atmospheric putty in the hands of sleazoned DJ's and sounds like the beginning of a long, strange trip.
B2 "Red Floor" is a chugging, barely restrained dark disco beast, flagrantly wearing its Weatherall and Neu Beat-ing heart on its tattered sleeve, elliptical melodies keeping you from your sanity with a solid drop for the dancefloor - another one for DJ's who ride it rough.

Thus completes the first release for new label SPIRITS. Four tracks exploring another corner of otherworldly analogue hedonism for extra-dimensional travel. Keep your ear on "Red Floor", as its potential for dancefloor uplift is proven and Machine-ready! Stay jacked in for more missives soon...

Ivan Smagghe:
"When your best Mexican chola low-rider meets our favourite Californian mechanic, you get a proper slice of (Lokier and) Machine funk. This is grease electronics, black leather under the very dark sun of 'Pearly Hate' or in the bright isolation tank of 'White Room''

Lithuanian based label Sodai started its journey in 2016, making it a label still in it's infancy but making a big impression. Owned by artist Gardens Of God, who started the label to create his own 'no limits' platform for his experimental sounds and projects. While at the same time a platform to give other artists the chance to also have freedom with art and music.

With releases from Raxon, Few Nolder and Alex Krell under their belt, they can announce the exciting debut from UK producer Third Son this April. 'I've been an admirer of Gardens Of Gods' music for a long time, when he asked me if I could do something for his imprint, I was more than thrilled!' adds Joseph.

'Syncope's' synths spread far and wide, making this a journey of a track, modulating and panning in and out, pushing and pulling along a percussive drive. His broad musical range can be felt in this mix, with its slightly hypnotic tones.

'Irony' has a punctuated low end, which creates a deep and dark groove. The synthetic elements in this track gain in attitude, on top of ambient pads, leading nicely into 'Bach' to close out the release. It's driving and determined bass makes the backbone of the track, with a modulating hook line, along building and expanding frequency ranges.

The whole package makes for a very strong first release from Third Son, and Sodai are excited to be welcoming him to the family.

Suns out, guns out: Darkroom Dubs ease into 2018 slowly with a new addition to their limited vinyl series courtesy of Madrid analogue scientist Eduardo De La Calle.

Last spotted on Planet E and boasting a 15 year back-cat on the likes of Cadenza, Biologic, Just This, Hivern Discs and Mule Muziq, Eduardo is a man you're already well acquainted with. And you're going to want to get even closer once you've digested these four straight-to-business stripped-back traxx. Each cut designed for deep mix tailoring that you can really bend minds with.

'It's Me... The Apple Knocker' ignites the fire with a flash as we're hurled into a hypnotic frenzy from the first loop. A whirlwind comprised of so few parts yet causing a riot in your senses, this stutters and slurs with a precision sense of unease. The troubled ebb and flow of 'Opsimath' follow suit with a twinkling feeling of unknown. An extensive groove weighing in at nearly nine minutes, its unhurried nature alludes to its title; the longer you leave it sizzle, the more enriching it gets.

Flip for 'Breatharian'. The deepest, most disarming cut of the collection laced with yearning strings and poignant chords, it's a solar-inspired sunset piece that gradually morphs into something much darker and serious as the track progresses. Finally we conclude with 'Cybersquatting', a timeless mildly dubbed-out darkroom groove that flows with liquid insistency. Subtly mutating and rotating, forever pumping, it's a true calm before the storm piece, tailored for those moments when you need a little suspense and space in your set.

Four crystal jams. Endless variations. Infinite mixes: Darkroom Dubs have delivered once again. And there's more en route... Watch out for a new Deadstock 33s release and a new compilation 'Darkroom Dubs Presents Summer Love'. Both due before the summer is out. Don't put those guns away anytime soon...

With the Split EP, the fourth release of their own label Rapid Eye Movement, Memorial Home and VII Circle head the way with two original cuts both and sign another stunning dark and hypnotic techno odyssey with a strong emotional pattern.

The opening track 'Metaphysical Functions', starting with a slow building atmospheric overture, encompasses much of what the VII Circle's sophisticated sound is about. A combination of compelling and dark pulsing kick drums with deep and melodic synth lines and dramatic ethereal breakdowns.

'Dogma' is stamped by a strait cavernous and rugged beat, powerful and catchy basses as well as propelled by uplifting and immersive melodic motifs that have a fierce cosmic appeal.

Following the path, Memorial Home delivers with 'Second Floor' an intense ambient-driven piece, harnessing haunting and misty cinematic textures with a tension-building repetitive bassline which provides a rising magnetic and powerful effect.

Closing the journey or rather keeping the flame high and firm till the deep end, 'Ampere' evinces a more pin-sharp and frantic percussive techno approach overlaid with highly suggestive atmospheric swirling synth effects.

Four captivating weapons which display an aesthetic quest focused and driven both by dancefloor-orientated climax and underground-rooted emotive escapism.

The anonymous underground figure of Phoboz is associated with one colour - black. Not only is his online presence a mystery, with alternative stage names such as Doghead, Phaseliner, and Parseq. He is also connected to the well-respected Motorlab label, whose releases from the outset have been devoid of portraiture, biographic information, or textual support. Black covers, a few silver symbols of factory hardware, and nothing more.

Nonetheless, one Russian venue online has referred to Phoboz's earlier work as 'digital music for sentient people.' There's a vague connection between darkness, industry, and Russian feelings of late. Actuality is black.

These same emphases define the newest release by Phoboz on Resonance Records, entitled 'Flow' and overseen by Moscow's techno kingpin Nikita Zabelin. Forty minutes of resonant, insistent beats, straight from the gut of some abandoned factory. A heavy, even thunderous tradition fades to black, leaving the echo of prior decades to repeat itself, over and over. Even the titles of this release speak of something lost in the dark: 'Forgotten Planet' or 'Shifted Bias.' One tradition has evanesced; a future equivalent remains vague.

Phoboz gives voice to that shift from erstwhile desire to present-day drive, from industrial progress to post-industrial flow. The sounds of a forgotten culture.

Following on from his Livity Sound 12' released last year, Via Maris swings back into action with 3 tracks of low slung shellers for Beneath's Mistry label. The EP shows a focussed yet varied range in Via Maris' production. Shelley hits hard with wigged out stomping drums, Toys shows a more sultry, introspective side and Miasma rolls with impeccable pacing. All three tracks are designed, refined and engineered for the dark, hazy basements - you can almost taste that Plastic People vibe.

"It was the most beautiful summer of my life."

Memories — places, vacancies, allusions — are fundamental characters in Mary Lattimore's evocative craft. Inside her music, wordless narratives, indenite travelogues, and braided events skew into something enchantingly new. The Los Angeles-based harpist recorded her breakout 2016 album, At The Dam, during stops along a road trip across America, letting the serene landscapes of Joshua Tree and Marfa, Texas color her compositions. In 2017, she presented Collected Pieces, a tape compiling sounds from her past life in Philadelphia: odes to the east coast, burning motels, and beach town convenience stores. In 2018, from a restorative station — a redwood barn, nestled in the hills above San Francisco's Golden Gate Bridge — emanates Hundreds of Days, her second full-length LP with Ghostly International. The record sojourns between silences and speech, between microcosmic daily scenes and macrocosmic universal understandings, between being alien in promising new places and feeling torn from old native havens. It's an expansive new chapter in Lattimore's story, and an expression of mystied gratitude. A study in how ordinary components helix together to create an extraordinary world.

Awarded a residency at the Headlands Center for the Arts, Lattimore spent two summer months living with 15 fellow artists — writers, playwrights, musicians, poets, painters, activists, curators — in a cluster of old Victorian military buildings on the Northern Pacic Coast. Days offered solitude, Lattimore set up in a spacious barn, able to arrange her instruments at will. Nights welcomed new perspectives. "Hanging out with a lot of accomplished artists with poetic ways of looking at the world was really inspiring. My heart was in a bit of a tangle after leaving Philadelphia. I was holding onto things instead of moving forward. My time there was a nostalgia detox, a way to press reset in a healthy way. Also breathing in the freshest air in America, straight off of the ocean, felt good."

Throughout the shifting locales there is one consistent companion Lattimore engages: a 47-string Lyon and Healy harp. The instrument wires directly into her psyche. Pitchfork's Marc Masters posits, "she can practically talk through it at this point, she's created a language." The space and stillness of the Headlands afforded Lattimore freedom to her expand her vocabulary, to stretch out and experiment with layers of keyboard, guitar, theremin, and grand piano. Lattimore's voice sweeps beneath the plucks and washes of opener It Feels Like Floating,' enraptured by the winding current, and reappearing in the second minute of the immense "Never Saw Him Again." The track elevates towards a shimmering apex of static and percussion before organ drone yields to signature halcyon utters. As with much of Lattimore's work, the track titles are telling, "Baltic Birch" is a somber windswept march that sways gracefully out of step, a remembrance of a recent trip to Latvia where she was struck by the abandoned resort towns along the Baltic Sea. Hello From The Edge of The Earth' is an earnest reection of Lattimore's love of the natural world, recognizing the thresholds of varying terrains.

The album's fth track borrows its name from Lattimore's favorite line in Denis Johnson's short story Emergency' from Jesus' Son. A character, lost in a blizzard, reassesses a disjointed universe, a clash between curtains of snow and angels descending out of a brilliant blue summer: it isn't an apocalypse, it is a drive-in movie, with stars hovering above the lot, off the screen, in the throes of the Midwestern storm. This mix-up is disorienting and existentially tragic, Lattimore's darkly strummed piece is a melancholic parallel, mimicking Johnson's elegant suture attaching two remarkably discontinuous spaces.

Micro-revelations, not quite as bright as torn skies but nonetheless enlightening, were everyday occurrences during Lattimore's residency. Living small days with small tasks — feeling little dramas within the arcadian universe of a national park — rendered her the sense that disjointed spaces can be interconnected no matter the enormity that divides them. It's in this elastic scale of perception that something as simultaneously simple and intricate as Hundreds of Days can ourish.

- Second solo album for Ghostly, past releases on Thrill Jockey
- Recently toured w/ Sharon Van Etten, Jarvis Cocker, Kurt Vile, Steve Gunn, Julia Holter, Iceage
- Mary Lattimore has been featured on Pitchfork, NPR, The Wire Magazine, and more

Anklepants Introduces His Brand New Album For Detroit Undergroud, A Collection Of Ten Cuts, Made With His Very Own Arsenal Of Digital And Hardware Toys, Most Of Them Self Made And Customised For His Purposes. This Multi Faceted Artist Creates A Blend Of Twisted Ryhthms, Synthetic Melodies And Weird Textures And Noises, Yet Danceable Stuff But With Heavy Focus In Experimentation And Risk.

Pollen Opens The Release With A Weird Arabic Style Riff And Arpeggiated Clean Synths Over A Simple Beat, Until More Melodic Layers Complete The Equation.

Chowsey In Upstyled Onesy Minor Follows With Sampled And Morphed Traditional Instruments, Laying Over Destructed Beats And Rythms.

The Perfect Adult Man Relies On Atmospheric Stabs, Four Four Kick And Analogue Bubble Bassline, Dark, Grey And Melancholic.

'lé Cavé_isnt It Funny To Think Once Apon A Time People Thought The World Was Blue White Flat And Squaré' Is Made Of Twisted Samples, Asymetrical Grooves, Organic Instruments Decimated And Multiple Sound Layers.

808 Frapé Is An Homage To The Classic Drum Machine, Electro Shaped Drum Patterns, Floating Sounds And Crispy Metalic Glitches Dance With Random Sequences And Bleeps In A Robotic Exercise.

Reecard Farche The Torture Of Credo Mutwa And The Theft Of The Necklace Of Mysteries_noel Goes Again To Weird Random Bleepy Fields, Alien Grooves, Heavy Sound Processing And Glitched Details.

Industrial Kingpins Und Drachoen Is Dark, Obscure Number, Clear Rythms, Strings And Resonant Bassline Collide, The Groove Transforms To Broken Beats After The Break Bringing New Life To The Overall Feel.

Sharkblood, Sure The Sharks, Repeats This Phrase In Different Pitches Over A Solid Kick Pattern While More Vocal Layers Are Added Progressively In A Voice Madness.

Golife_refracto Relationé Again Plays With Samples In A Mad Style, Altering Every Parameter, Creating Granular Efects, Destroying The Audio Files Creating An Asymetric Tune.

Attila's Own Photos From The Shoot It's The Epilogue, In A Relaxed Mood, Sound Textures, Various String Samples Melting In Different Pitches And Crunchy Atmospheres.

Since '87 a 13 year old Jan Svensson AKA Villa Abo has been the back bone of Swedish electronic experimentalist group Frak and behind one of the biggest inspirations for Butter Sessions, Borft Records. As always, Jan keeps pushing the boundaries on this 4 tracker.

' Kicking it off, 'Just a 309' is a stripped-back rough and ready house track in true 90's Borft style.
On 'Mission Just Pam Pom' we are blasted with space zaps and bizzaro chords melted together with an irresistible beat and SFX from tomorrow.

The weird-o-meter is stepped up a few notches on the B Side with the sluggish yet hypnotic burn on 'Separated Together'.
A bonus collaborative effort on 'Pony-Flute' by Jan and another Frak member Duo J encapsulates us with a dramatic introduction of flute like synths and dark atmospheres taking us into the underworld...

Some Years Ago An Album By Dutch Band Milligram Retreat (enfant19, 2011) Was Released On Enfant Terrible. The Album Got Raving Feedback From Press And Music Enthusiasts. Sadly
The Project Was Short Lived... But Straight After The Project Came To An End Maurice Hermes, The Mastermind Behind It, Started His Solo Project Called Neugeborene Nachtmusik. Now Is The Time To Pour His Debut Album Out Over You... An Album Simple Entitled neugeborene Nachtmusik' And Highly Awaited...

Residing In Berlin Neugeborene Nachtmusik Has Shaped His Music More And More These Past Few Years Into An Unique Style Of This Own... Some Results Of This Were Displayed Already On The Various Artists Releases Exploitation (et017, 2012), I Am Enfant Terrible (etx, 2014) And Post-everything (et034, 2014)...

This Album Is A Pitch Black Experience... A Shamanistic Ritual And A Dark Trip Which Takes You By The Hand And Leads You Beyond And Back... You Get Served Six Long Tracks With Effective Minimalism And Trance Indulging Sounds... Influences From Elektro, Techno, Industrial, Noise And (black) Metal Can Be Traced... The Album Is Diverse But Coherent In Displaying The Specific Personal Style Of Neugeborene Nachtmusik...

Doom and dark sweet Hardcore sound... very musical think dispite its dancefloor side. Superb music !