Suche:def inc

As music continuously evolves, times change and new ideas and movements come & go. All of this functions in tandem with scientific, technological, social and political advancements in our society. The biggest component to that evolution is the people. There are creators and consumers. One cannot exist without the other. Throughout art, the audience defines quality, but artist has the power to introduce change and shift perception. Execution is key. The masses are always hungry for something fresh. Sometimes we're at the forefront of new trends and sometimes we find comfort innovating the past. No matter what, musicians have a responsibility to bridge the gap. Raw Poetic and Damu the Fudgemunk meet all of the above. Produced entirely by the artists, the new album "The Reflecting Sea" revisits sonic textures of yesteryear and combined with their own distinct ears for music, have created something uniquely foreign for the music world in our time. Speaking of the times, Raw Poetic's lyrical subject matter is nothing short of relevancy. Speaking from an observatory perspective in addition to his own personal experiences, the album's content is infinitely relatable. Although known primarily as hip hop acts, both Damu and Raw P stretched out to expand what the genre is known for. The combination of elements from the mix of live instrumentation, improvisation and sampling to the range of styles including jazz, fusion, rock, electronic and soul make The Reflecting Sea unlike anything else. Captured and recorded in it's rawest form, the album is honest expression. Masterminding the festival sounds is Damu the Fudgemunk. His voice is absent from the recordings, but his presence is immediately noticed throughout the 40 minute exhibition. Packed with tons of beats, tons of scratching, original compositions, upbeat and signature atmosphere, there's no question who's behind the boards. With the average tempo of over 100bpm, this is one of the most energetic releases in Redefinition's catalog. Raw P and the Fudgemunk aim to revitalize listeners of all types with their original sound. They call it "The Reflecting Sea: Welcome to a New Philosophy." Raw Poetic (MC), hails from the DMV area by way of Philadelphia. In addition to several collaborations with Damu the Fudgemunk, he's recorded 6 albums as a member of Panacea, 1 album with K-def, 1 album with Kev Brown and recent features with Brous One in which all have been met with critical acclaim. Damu the Fudgemunk (producer/DJ) is a DC native who co-owns and operates Redefinition Records. With several successful releases as a solo artist, his music has garnered a reputation in the last decade for it's consistent quality and conceptual structure.

Granny13 opens with Nicola Ratti's 'Odd Doubt'. With the use of a modular system and tape loops, a broken rhythm is obtained by parallelism between single sound signals as LFO one or processed tapes.On the second side, Giovanni Lami's 'Johnny Leech' is made with a small bunch of equipment, just a chaotic hand-made synth (cacophonator) and a memoryman, working mainly on static electricity and leakage current in the synth used without any kind of power supply.

Reviews

The Wire
''Two Italian mucisians share a split single of glitchy fun and everyone goes some happy. Lami s piece uses a defective unplugged synthesizer to make huzzing chitters that have a kind of rhythm in spots. Ratti s contribution is a bit more structured it sounds like a record of accordion miniatures broken into pieces, then glued back together with little pieces of felt stuck onto it. Which would definitely be a pretty hep thing to hear.''

Textura
''Some releases qualify as art objects as much as musical collections, a case in point this recent seven-inch vinyl outing featuring material by Nicola Ratti on one side and Giovanni Lami on the other. That shouldn't be interpreted to mean that the musical content isn't worthy of one's time, as it assuredly is, but more to emphasize how striking the sleeve artwork by Opora is and how effectively it complements the musical content.Mastered by Giuseppe Ielasi and issued in an edition of 150 copies, the release opens with Odd Doubt, a concise experimental setting by the Milan-born Ratti, who's issued material on labels such as Anticipate, Preservation, Die Schachtel, and Entr'acte and who's presently working with Ielasi in the project Bellows, with Attila Faravelli as Faravelliratti, and with Enrico Malatesta and Faravelli in ~Tilde. Though Ratti started out as a guitar player, his current focus is more on beat-analog experimentation and sound installation. In Odd Doubt, Ratti's modular system and tape loops generate broken rhythms that varyingly call to mind dub-techno, even if dub-techno of an extremely wonky variety. Off-beat chords, crackle, and snare strikes add to the dubwise flavour of the material, though ultimately it registers as more of an experimental exploration than straight-up dub exercise.The flip side features Johnny Leech by Lami, a one-time photographer now known as both a field recordist and a musician focusing on soundscaping and sound-ecology. In his contribution to the seven-inch, Lami's chaotic hand-made synth (cacophonator) and memoryman give birth to blustery smears of static electricity that ultimately mutate into an Oval-like array of ripples and scratches. Johnny Leech is so removed from anything conventionally musical, it makes Odd Doubt sound like a Top 40 pop song. Like Ratti's piece, Lami's is short, so short, in fact, it gives the impression of being an excerpt from a larger sound art work. Here's a release where the abstract nature of the musical content matches its visual presentation.December 2014''

Vital Weekly 951
''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''Vital Weekly 951''Granny Records is from Greece, but the two musicians here are from Italy, of which I don't I heard from Giovanni Lami before. His piece is called 'Johnny Leech' and he uses a hand-made synth known as the cacophonator and a memory man (a delay machine), 'working mainly on static electricity and leakage current in the synth used without any kind of power supply'. It makes up for a nice piece of chaotic lo-fi sound, which is put forward through methods of improvisation. Quite a nice piece and it fits the format very well. The crackling of vinyl surely adds an extra layer. Nicola Ratti uses a modular synth and tape loops, of what seems to be percussive material, but the rhythm is broken down and the whole thing has a nice gentle feel to it, even when it bumps, clicks and glides, but the synth makes it more subtle. Here too one could say this perfect for a 7": one doesn't have the idea that this is cut from a longer part as is not unusual with this kind music. Especially Ratti seems to have worked out his music as a composition, which is very nice. (FdW)''

As one of FUSE's original residents, Rich NxT played a major part in the brand's evolution, helping take it from that Sunday morning afters to being one of the most respected event brands and labels on the planet

Ever since the age of 10, Rich NxT has been involved in creating his own music. Thanks to his early training as both a drummer and keyboardist, NxT has an inherent musicianship fully apparent in his sound and style of production. Taking influence from the London rave scene of the early 90s spanning drum n bass and jungle and later the minimal and tech-house scenes of Europe, NxT's output found a platform on the now world-class FUSE London label (launched in 2011). A core artist for the label, with five solo EPs and a collaboration alongside Seb Zito, Rich NxT has been integral to FUSE's trademark sound with his debut EP 'Bristle' and 'Quixotic' EP two of the labels defining moments. NxT and Zito's chemistry in the studio is clear with a further two collaborations on FUSE sister label Infuse. Alongside his own productions, NxT's remix catalogue includes Seb Zito's 'Never' with Enzo Siragusa and his original breakthrough remix of Jon Maker's 'Seeker', which was championed by tINI and many other leading DJs in the minimal house scene.

By the end of 2016, a residency at Amnesia Ibiza with HYTE x FUSE alongside dates at Off Week in Barcelona and several stand out events on FUSE's 8th birthday tour including an epic after hours set at Berlin's Hoppetosse proved NxT is on top of his game. NxT also launched his own imprint NxT Records that year, another platform for his own consistently quality output. Several releases down the line, NxT's distinctive style layered with intricate percussion, obscure synths and ethereal pads combined with punchy snares and atmospheric vocals is marking out the producer and label as a prime source for DJs and vinyl lovers. 2017 sees the launch of a second vinyl only imprint What NxT, a home for musical discoveries that end up buried deep in his own record bag. Featuring both emerging talent and established artists from the UK and beyond, What NxT All roads lead to the rave.

Southern Italian sociologist, DJ and electronic music producer Simone Gatto is about to release his second album, 'Heaven Inside Your Frequencies', in November 2017.

Gatto's second album represents a complete excursus of his personal and professional paths, into which he combines music, words, studies, researches and experiments. Along with the album, split in two parts and to be released on both his labels Out-ER and Pregnant Void, the artist is also releasing his first essay, named as the album; the latter offers a theoretical and practical analysis on the use of sounds and frequencies in diverse areas of interest, dedicating space to music therapy and primordial techniques as well as their application in the current digital and virtual era.

Both the album and the essay result from Gatto's personal experiences as well as his ten-year's artistic career: the love of his motherland and his parents, the first approach to clubs, the studies about the potentiality of frequencies, the electroacoustic experimentation and last but not least, the aesthetic sonorous research.

The the first part of the album showcases Gatto's experimental inclination for electronic and electroacoustic music; as such, the upcoming on his label Pregnant Void, has been created to enhance the sounds of the environment and personal panoramas by agglomerating artists, projects and publications. The second part definitely focusses on Gatto's dance personality and club vision, even so, it stays strongly connected to its first part as complementary for the artist's objective.

Ranging in between his favourite club niches, and collaborating with producers with whom he has shared embryonic projects, DJ booths or vinyl releases, Gatto prepares the audience for a complete journey into his idea of club music and grooves, featuring wide aesthetics and emotional resonance. It goes from the gentle tidiness of ambient and deep techno - 'No Te Olvides De Acordarte', 'Today Will Be Tomorrow ft. Kaelan', 'When I Was With You' and 'Limbo' to the intrinsic vitality of break beat, dub and funk tracks 'Caronte' and 'Holographic Drama' continuing with the dynamism of a typical Detroit techno brand of sound reinterpreted in a modern context, like in 'Forbidden Area' and 'Amazonia ft. Aubrey', and finishing with the joyful wildness of distorted sounds, in 'Jamming On The Couch ft. The Analogue Cops, OL047' in collaboration with long-time friends OL047 and The Analogue Cops; the last track, 'Il Canto Dell'Anima', is a partial excursion into the electroacoustic sound, articulated by ethereal soundscapes and piano arpeggios. The whole work is enriched by samples, field recordings and filtered vocals, sound elements which have been deeply explored in the first part of the album, confirming Gatto's aesthetical aptitude as for the club's universe as for the aesthetic sonorous research dimension.

'Heaven Inside Your Frequencies', recorded and produced between his motherland and other significant spaces and cities - the Ionian coast and natural parks of Lecce, his second home Berlin, the Whitney Museum in New York City and other significant places - 'Heaven Inside Your Frequencies' combines Gatto's theoretical background with personal and artistic maturity, achieved in the last decade. Simone Gatto's life, culture and emotions translate into a sonorous and written project, among sounds, frequencies and attempts to achieve empathetic communication with people. Specifically, the second part of the album in meant to increase the sensibility about potential interaction between performer and audience as for club contexts. The album listening and the essay reading are therefore complementary and equally functional to the achievement of the artist's goal: the empathetic communication through sounds.

Purveyors of enigmatic dreamscapes and organic, danceable electronica, Leeds-based, electronic-soul quartet Noya Rao are set to release their debut album, Icaros, this November. Founded by producer Tom Henry (Cosima, Yellow Days) Noya Rao was originally conceived as a solo production project with a separate live band representation. Alongside bassist Jim Wiltshire and drummer Matt Davies, whom Tom had met playing in other bands within the Leeds music scene, the project grew to become a collaborative effort mixing Tom's production ideas with the attributes of Jim's unique bass synth lines and Matt's polyrhythmic beats. Their compositions drew on the influences of jazz, hip-hop and electronic music whilst incorporating the sounds of the bass-heavy-dub music synonymous with the Leeds music scene. Their sound really came into focus when they met vocalist Olivia Bhattacharjee who brought her gospel style and complex choral harmony to the band. Developing from raw, psychedelic improvisations, their sound became more defined and minimal, underpinned by live instrumentation and more structured song writing. This co-existing electronic and organic thread gives the band a strong identity and their powerful live show sets them apart from other producer-led bands. Matthew Halsall from Gondwana Records saw the band perform at an intimate show in Manchester in 2016 and blown away, signed the band on the spot.

Icaros takes the listener on a journey through the band's unique sound-world amplified by Tom Henry's bold and inventive production techniques. Sometimes fragile, sometimes raw and visceral the album opens with the ethereal Azimuth. It's contrasting sections and mysterious chords offer echoes of the band's instrumental beginnings whilst the repeated vocal harmony layers at the end demonstrate a signature feature of the new Noya Rao sound. Moments is the first tune they wrote together and reflects upon taking joy in the everyday: the opening womb-like chords are another distinct sound of the band. The gritty Golden Claw describes the effects of a manipulative heartbreaker, it's darker, more driving and has a ruder '80s flavour. Midas demonstrates the band's use of linear structural forms and complex rhythms influenced from around the globe. It tells the story of someone who, led by greed, made some regrettable decisions. The atmospheric Dreaming Part 1 and Part 2 are sumptuous dreamy soundscapes. They were born from the same epic improv-based writing sessions as Fly, which has a trippy disco vibe, offset with wonky chords and crunching vocal harmony. The hook-led I Feel points to future ventures for the band: mixing their electronic textures with a more formal song-writing approach. A sublime slice of dreamy space-jazz, Same Sun Will Rise, finds Olivia contemplating mankind's utter selfishness and a desire for change, "Over borders we've assigned, same sun will rise'. Minimal and spacious, This Time demonstrates the merging of ethereal edginess and delicate songwriting. It is this combined with their electronic and live approach and more than a hint of Leeds attitude that gives Noya Rao their unique sound.

Super deluxe lo fi 7" grape-colored vinyl housed in DIY low-budget sleeve, + includes "I love my VCR Sticker"

WRWTFWW Records is thrilled to announce the release of the long anticipated, always delayed, 30-years-in-the-making PSYCHOS IN LOVE Original Soundtrack, available at last and for the first time ever in a super deluxe low fidelity _7" grape-colored vinyl edition, housed in a DIY no-budget sleeve, and loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie "I LOVE MY VCR" bumper sticker!

Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-romcom soundtrack adventure with a theme song so memorable you'll find yourself humming it every morning. In Gorman Bechard's words, "For the Psychos In Love theme I purposefully wrote what I hoped were the worst lyrics of all time, giving them to Carmine Capobianco with one note, 'use them to write the worst song of all time.'"

The movie Psychos In Love (1986) is a trenchant, laugh-out-loud indictment of slasher films, romantic comedies, and grapes (that's right, pal, grapes), a true genre-defying post-modern cult classic that will wind its way into your heart as its characters work _their way through vats of gore. Packed tight with sly homages to - and parodies of the work of such cinema legends as Alfred Hitchcock, Woody Allen, Roger Corman, Groucho Marx, and Gerard Damiano, Psychos In Love foreshadows the grand guignol culinary delights of Silence of the Lambs, served up with a healthy portion of wry wit and all-American t&a.

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

Acid Jazz are pleased to announce details of the definitive Leroy Hutson compilation - Anthology : 1972-1984 on 20th October. Erstwhile Impression, Leroy Hutson's catalogue has become increasingly coveted over the years and this compilation collects his Curtom recordings together with two newly discovered tracks including Positive Forces which is available as an instant grat track when pre-ordering the album.

Native of Newark New Jersey, Leroy Hutson grew up In a part of the world that spawned many of Soul's all-time groups, amongst them, The Parliaments and the Manhattens. Smitten by the music he was to join a local quartet, The Nu-Tones and despite never recording the youthful Hutson experienced the thrill of being a singer. On splitting up, Hutson found himself studying in Washington DC and once more in the company of supremely talented artists including Carla Thomas and future collaborator Don Hathaway. Various recordings came and went with little chart success before, along with Hathaway he became central to a group of singer, songwriters and players under the tutelage of Curtis Mayfield at his Curtom label a relationship that initiated Hathaway's chart topping career when the pair co wrote the all-time classic and million seller The Ghetto.

Early 1971 saw Hutson replace Mayfield in the Impressions as he left to concentrate on his solo career, the transition was seamless and although relatively brief saw the band in the pop and R&B charts. His debut on the Billboard chart as a solo artist arrived with Love Oh Love, the first of a dozen Curtom singles he recorded during an exciting and turbulent decade for black American music.

The seven albums Hutson released on Curtom between 1973 and 1979 are a legacy that remain highly respected, almost revered amongst soul cognoscenti, an untold influence on an entire generation of musicians throughout the eighties. The demise of Curtom in the early eighties saw Hutson relocate to Elektra, where in 1982 he released Paradise - highly acclaimed and much loved for a time it looked like that release may spell the end but some twenty-seven years later, the newly monikered 'Lee' Huston unveiled Soothe You Groove You.

Finally the long-awaited second series of 'Invisible Family' outings has arrived. Label boss and compiler GK Machine has this to say: 'Beyond ecstatic to get these tracks out. The Gazeebo track I've been playing in my sets for years. Digital only but SO great it definitely needed to get pressed onto wax!! I would DJ with it using Ableton and speed it up a lot so for the vinyl I asked Jon (Nedza) who I've been a huge fan of since his Community Recordings releases on Grayhound and Imperial Dub, whether he could speed it up a little bit before we pressed it up. Now it's 100% perfect: a Moroder-esque cosmic stomper that's sure to set any dancefloor alight. The Apiento track is another one that's been gestating for a long time...first appearing around the time the original "E.S.P." 12' appeared on the wonderful Golf Channel Recordings in 2014. Secret Circuit gave it a complete overhaul, in fact several complete overhauls, plus some of his signature guitar and has turned the already blissful track into an afro-esque, trippy, beautiful, beautiful piece of music that (IMO) is one of his best yet. Utterly gorgeous!!
Then there's the boy-girl retro-future duo Der Kundalini coming from the wonderful Lectric Sands stable in NY who gave us Zoovox. This one's also been hiding on my hard drive way too long! Finally relative newcomers Konzel (of Junto Club/Optimo Music fame) & Natural Sugars (Pardon My French) round off the package just perfectly. The former so distinct that I felt it was a perfect opener for the A side. So, I hope you dig it...and keep an eye out for the super limited 12-track cassette too!!!'
Limited to 300 hand-numbered copies.

«Prelude» EP is the inceptive release of Oxmose, which marks the first entry in an ongoing catalogue, and the beginning of a journey with various artists. At its heart, the «Prelude» EP is a dialogue between two composers, a conversation that traces the line between abstract, electronic experimentalism and gliterring interpretive jazz. Parisian producer Shcaa takes control of Side A with 'Core', a near 20 minutes exploration into sound, which skirts the fringes of avant-garde minimalism and experimental rhythms. The song's acute cadence lays a dense and atmospheric foundation for the EP. - Side B sees Romanian artist Traian - Chereches offer-up an absorbing - counterpoint to Shcaa's opener on 'Cage'. The energy of Chereches' rebuttal fuses organic and interpretive sounds into a deft jazz reinterpretation, revealing a wide and surprising cinematic ambience. Mastered by Rashad Becker from Dubplates & Mastering Berlin, « Prelude » will be released on limited edition 12'', 180g heavyweight vinyl - with an outer sleeve featuring handmade artwork created by graphic designer Alice Voinea. The organic materials used in her work, emphasizing the interchange of the record, adding a further layer of continuity, one that streches between the artist, the music and the listener. - Written by Tom Fenwick

Moullinex is back with his finest album up to date, HYPERSEX, a collective love letter to club culture and its celebration of difference, freedom and love. In his third length, Moullinex reached out to several guest singers: Fritz Helder (Azari & III), Georgia Anne Muldrow (Flying Lotus, Mos Def), Iwona Skwarek (Rebeka), Best Youth, Marta Ren, Da Chick, UhAhUh and Tee Flowers, crafting a uniquely fresh piece that combines many of his musical influences, from the funk, groove and sunshine of his debut "Flora" to the psychedelia and tropicalia of 'Elsewhere'. Moullinex is the alter ego of the Portuguese producer and multiinstrumentalist Luis Clara Gomes. He's established himself as one of the leading artists in the modern disco scene, with several singles such as 'Take My Pain Away' and 'Maniac' ft. Peaches, and remixes of acts like Røyksopp, Cut Copy, Two Door Cinema Club and Grammyawarded artist RAC. The road to HYPERSEX has been paved by various singles and videos in 2017, expanding the spirit of collaboration to directors and visual artists, and gathered wide support from international tastemakers across the globe, including Vice, NPR, KCRW, Triple J, Majestic Casual, Les Inrockuptibles and Tsugi Mag. HYPERSEX is like Hypertext between humans, a system designed to multiply ideas and connections between people. The dance floor is the perfect medium.

Durban's 23 year-old producer Emo Kid has announced he is to release eight-track debut EP, 'Gqomtera', through Gqom Oh! on September 22nd. Although titled 'Gqomtera', which Emo Kid explains is a slang term he and others use for the music, the record actually explores Sgubhu — another strain of South African dance music that shares many stylistic parallels with Gqom, though is always written with a 4x4 beat. Like DJ Lag before him, an artist widely considered the king of Gqom, Emo Kid is also considered a pioneer in Durban; 'Some people call me the Sgubhu king, but I'm just happy they're enjoying my music', he says. Based in Inanda, in the Etafuleni area township in Durban, Emo Kid's house looks out over an area called Isandlwana — the spot where the Zulu army famously defeated the British Army in the Battle Of Isandlwana in 1879. It is from this backdrop that he has written the majority of his music over the last few years, including new record 'Gqomtera'. At eight tracks long, 'Gqomtera' provides a comprehensive overview of the Sgubhu sound, with the aim of taking the listener on their own 'Durban Journey'. 'I wanted to show the uniqueness of my own style which I would describe as more musical', Emo Kid explains, 'you can feel the music when you listen but it still hits hard with that Gqom flavour.' That Gqom flavour, powered by hard, fast, uncompromising drums, provides a solid core from which everything else functions. Bright, shimmering trance synths feature on 'Futuristic Gqom', while on 'Enkwarini' — 'another word for a party or fantastic get together' — vocalist Fawell skips over light, playful Sgubhu rhythms. There's also space for harder, deeper cuts like 'Ground Shaker', cut with a twinkling melody line, the charging pace and power of 'Insimbi Yase Dubane' and the anthemic 'Asbambeki' featuring local crew TLC Fam, translating loosely to being unstoppable; 'It means you can't catch us basically', Emo Kid says proudly, 'On the dance floor, you can't touch us, we're on fire.' Capturing the raw, street sounds of his city, Emo Kid is the latest Durban artist to take the music global and with 'Gqomtera', put Sgubhu firmly on the map.

Terence Fixmer reached worldwide recognition with the release of his debut album Muscle Machine on DJ Hell's seminal International Deejay Gigolos imprint in 1999. The album opened a whole new genre by combining Electro, Industrial, EBM and Techno into a more dance floor-focused EBM style, simply called 'Techno Body Music'. The French producer and live act has consistently explored and redefined the boundaries of modern Techno -and he is not slowing down. Dance Of The Comets is the second release on the newly relaunched NovaMutelabel. NovaMuteis the seminal techno label that has been home to Plastikman, Speedy J, Juan Atkins, Luke Slater, Joey Beltramand more. NovaMute, born again, recently released Cognitive Resonance by Nicolas Bougaïeffand will release the forthcoming EP by Charlotte De Witte. Terence Fixmer'ssound deftly avoids repetition by developing soundscapes which maintain musical depth and integrity. He above all preserves an original style, an increasingly experimental, simultaneously ruthless and instantly recognizable aesthetic.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivaled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12" release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones,'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan s vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'dod' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Marco Bailey's 5th full-length album, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show.

By maintaining a consistently high-quality output that does not merely ride the wave of current trends, multi-faceted producer Marco Bailey has managed to survive through decades of mercilessly shifting adjustments to popular taste in dance music. From his beginnings in the late '80s spinning eclectic sets comprised of everything from punk to old school hip-hop, to his present interest in pure unadulterated techno, the Belgium-based DJ and producer has won over audiences with his keen knowledge of how to squeeze the greatest physical and emotional impact out of a few well-placed elements, along with his instinct for seeking out the most innovative and resilient kindred spirits (his impressive number of professional friendships includes artists as diverse as Markus Suckut, Jonas Kopp, Alex Bau, Edit Select, Speedy J, Steve Rachmad and many more). These combined talents have led to his formation of several different labels: MB Electronics in 2001, the 'limited edition' label MBR in 2013, and lastly the new Materia Music label begun last year. His similiarly named event series, Materia, has also been a truly worldwide 'state of the art' summit for advanced techno artists.



The full-length personal releases by Marco Bailey, which stretch back to his mid-'90s period as a trance producer, have been gracefully arcing and anthemic affairs composed of individual tracks that follow that same blueprint. He is now about to drop his 5th full-length album overall, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show. Of course, an epic running time alone is not the marker of a great audio experience, but an epic running time in which one loses track of time completely is - Bailey accomplishes this feat by never rushing the payoff; by organically building up each track until listeners are fully immersed in his alternate universe.



This skill can be heard on banging, sweat-saturated tracks like 'Ash', 'Genetix' and 'Hasai,' but also on comparitively gentle pieces like 'Klauth' (which straddles the line between disciplined electro and something more dreamlike and weightless), or the blissed out 'Suoh,' which feels like a fresh snowfall in audio form. Low-key cuts like 'Rex,' driven by echo FX and other windswept sounds, form natural counterparts to busier tracks like 'Ruth,' with its spring-loaded sequencer attacks, or 'Reboot That Device,' which is ingeniously driven by a psychedelic organ whose sound evolves with various filter settings. Minimalist vocals are occasionally injected into the mix - i.e. on the 'The Darkness' - to impart a subtle message of constant, ongoing expansion into unexplored galaxies without and within. It's as good a definition of the artist's musical mission as any.

Stepping up to continue Defected's In The House tradition is DJ Haus, a decidedly untraditional DJ, producer, originator and DIY label innovator. Recognised among the underground house community as being at the cutting edge with his imprints Unknown To The Unknown and Hot Haus Recs, DJ Haus' kaleidoscopic eclecticism and refreshing lack of ostentation makes him, in Defected's opinion, an ambassador for the future of house music.
Ahead of the release of the full compilation Defected presents DJ Haus In The House this vinyl double pack keeps things super fresh and direct with a whopping eight compilation exclusives. New material from Deadboy, Jordan (UK), Ejeca and Innershades is included, plus remixes from DJ Octopus and DJ Steaw. Demonstrating a colourful array of raw and jacking sounds that encompasses electro, Chicago house, disco, techno and UK garage, DJ Haus In The House does the UK's house scene immensely proud. It documents a moment in time when DJ Haus' quietly pioneering dedication to the underground is celebrated in suitably reverent fashion.

Tidy Line-up including Randomer, Gilb'R, Voiski and Tolouse Low Trax...TIP!
In terms of experimental, techno, very few come close to the impact that this UK producer has had on the scene. With a sound that is rarely classifiable, Randomer's Dekmantel contribution is a staggered, minimally-twisted, dark, kind-of-two step, awesome thing. Versatile Records' Gilb'R has found himself an integral part of the Dutch scene since moving to Amsterdam, and brings forth his organic, percussive grooves that have helped define his music, and label to date. Salon Des Amateurs' Tolouse Low Trax provides a seasoned session of amniotic, grizzled, hypnotic post-everything music, that is eerily discomforting and wonderfully pleasurable at the same time. And on the EP's fourth track, Parisian techno wizard, Voiski adds layered organic, futuristic loops that work to stale the progress of time, and space.
To date the 10-year anniversary series has seen new releases by the likes of The Egyptian Lover, Levon Vincent, Gigi Masin, Fatima Yamaha, Burnt Friedman, and many more. Each record is held together by stylistic glue, touching upon the varying facets that come to define Dekmantel as a label, and event series. Along the way, many pioneering artists have been brought under the Dekmantel umbrella, making their debuts on the label - and this, the seventh EP is of no exception, with Gilb'R, and Tolouse Low Trax all releasing their first full tracks with the Dutch imprint, while Randomer and Voiski, having previously released on Dekmantel's UFO techno side imprint, are also brought into the main fold.

Warehouse Find

This June Session Victim returned to Delusions Of Grandeur imprint with their third studio album.Listen To Your Heart is the result of a year of cross-continental scripting, started in their Hamburg studio and wrapped up stateside in San Francisco's Room G Studios where the duo had worked on their 2014 LP See You When You Get There. Here we present the third of three LP samplers containing four tracks each, cut nice and loud for the vinyl crew.
We kick things off with Almost Midnight, another uplifting summer jam loaded with trademark Session Victim energy and positive vibrations. Next up we have Castle For Sale which drops the bpm's for a dub influenced, spaced out jam session sounding like King Tubby and Nightmares On Wax getting stuck in the proverbial lift with a large bong for company.
Flipping over we have a Head Over Heels, which goes heavy on the lush orchestral strings and a brilliant bouncing Moog bassline bringing a deft touch. Finally we're treated to Thermal Explorer, which incorporates some wonderful Larry Heard-esque keyboards for a perfect wind-down track to close the release.
An impeccable demonstration of retro-inspired yet forward thinking house and downtempo music,Listen To Your Heartsees Session Victim at the top of their game.

Greenlight by DJ Manny is the fifth release from TEKLIFE Records. This 10 trackLP is a masterclass in footwork production by one of TEKLIFE's leading figures. Born and raised in Harvey on the South-Side of Chicago, DJ Manny has been footworking since the age of ten. The Footwork sound has developed in unison with the dance style that accompanies it, and Manny embodies this synergy.DJ Manny is without doubt one of the best dancers on the scene, harnessing control, grace and power in every movement. So when he steps into the studio, he knows instinctively how to create tracks that make you want to move your feet.Instead of relying on chopped up samples, DJ Manny is more inclined to pickup the microphone himself, and this gives Greenlight an original and individual personality.On the opening track titled Way you Move, his flow is soulful and almost vergingon melodic. His laid back drawl sounds equally great on club bangers like Life in This Bitch and If U Want It. As a young man, DJ Manny was the protégé of the late great DJ Rashad, and Rashad's influence reverberates through classic - sounding footwork tracks like Boop Me Down and I'll Hurt Ya Baby.Elsewhere on Greenlight, DJ Manny explores different moods to great effect.Ghost Out is atmospheric and menacing, with a sparse, minimal rhythm and fearsome lowend pulsing through siren synths. Life In This Bitch is a defiant statement of self-affirmation, and Zancrash feat. DJ Taye is uplifting and dreamy,with complex rhythmic patterns evocative of vintage jungle records.DJ Taye makes a significant contribution to this record, collaborating with DJ Manny on 5 productions including the title track. A fellow TEKLIFE squad member, Taye is a highly accomplished producer in his own right, Expect to hear more from him very soon on HYPERDUB Records. Greenlight also features guest appearances from DJ Lucky, Gant-Man and Sucia.

Native Response returns with another 12-inch record with NR002: Shaman Among The Machines by Deltitnu.
Deltitnu is a homegrown Native Response project, debuting with three tracks that all share a certain feeling of mystery, accompanied by a steady grooving remix by Roger Gerressen. A1 is titled Sorry , a sweet and sincere record, that starts off with lyrical pianos drifting into space, while elegant drum machine rhythms build up more and more, developing a more club ready feel. This one is easy to lose yourself into, as the song progresses into vulnerable pads and a vocal stating Sorry, symbolising an apology from us humans to planet earth, for all we ve done. Continuing on to A2 Shaman Among The Machines we find ourselves in a whole different spectrum of the EP. It s hard to define where the kick ends and the bassline begins. A whole oozing of bass covers your body, and a miraculous atmosphere embraces you while the song effortlessly develops into a peaktime killer track. It moves on to a sexy acid line and playful drum rhythms on top, that when you think you almost understand them, they turn around again and show they were fooling around with you all along.
Flipping over the record; we start off with B1: Foundation Was Laid.
This meditative and hypnotising record shows that techno doesn t always have to be dark and dystopian. First of all the disco bass supported by the 303 massages the listener into a mindstate ready to take off. Once you re ready the atmospherical pads will take over and move you deeper into the comforting ambience of the track. The drums keep you grounded all the time, making sure no energy is lost on the dancefloor. Foundation Was Laid represents the start of the record label, Native Response. We conclude with B2, the Roger Gerressen Response of Shaman Among The Machines. Roger Gerressen does what he does best; giving the record a dubby and groovy spin.
He more or less adapts the qualities of a chameleon, resulting in a track that easily blends into the groove of the night, at any timeslot.