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* Manchester's Walton returns to Tectonic following last year's explorations in grime flavoured house/techno offshoots on the killer 'Bulldoze EP'. This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, 'Gunman' sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight!

* Flip for a slower, more gentle mood with 'Caught In A Trip'. Rolling at 126bpm, 'Caught In A Trip' builds around a developing melody played on a glockenspiel-esque instrument, backed with tribal percussion and a driving kick pattern. Ethereal in mood throughout, this one provides a lighter moment for the dance floor.

In 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made. Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were caught in the act'. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde's independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990's, however, that Funaná in its traditional form was actually recorded. It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná.

Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!
Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording.

The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

Synths Versus Me is a prolific duo formed by Vanessa Asbert and Nico Cabañas. They already put out a bunch of releases edited by Oráculo Records. Minimal Synth, EBM and Cold Wave from Lloret de Mar (Spain).

This 12' EP (ltd. 300 copies) includes two brand new tracks and two exclusive remixes. The original version of 1987' is an atomic bomb of pure vintage EBM in the vein of Signal Aout 42 and Front 242. The remix done by Dirk Da Davo from The Neon Judgement keeps the feeling of the track but adding some drums, guitar samplers and sequences trademarked by this Belgian legend. On the b-side there is the original mix of Aimless Device', an electro-pop tune with catchy melodies, analogic bass lines and female voices. The remix prepared for this track by the new american sensation Boy Harsher is a surefire dancefloor full of hypnotic beats and dark atmospheres. All tracks remastered by Eric Van Wonterghem at Prodam Studios (Berlin).

Special remarks: The record sleeve and inner sleeve were designed by Wolfgang Tillmans. Videos directed by Tillmans will be released for Device Control and Make It Up As You Go Along - Salem Remix.

Philippe Quenum returns to Cadenza Music with 'Solitaire', some thirteen years after helping kick start the Swiss label with the 2003 release 'Orange Mistake'/'Funky Dandy'. This groundbreaking single, co-produced with Luciano, has since become a landmark release, not just for the label, but also as the benchmark for the micro-house and minimal tech-house genre that developed over the decade. With a music career than spans back to the mid-80s (dancing in NYC as part of the breakdance troupe, The Magnificent Force), Quenum found his forte with house music, both as a DJ, and as a producer and label owner. Setting up the Access 58 label in 1998 as a platform for his music and collaborations, Quenum has consistently released over the years for labels like Crosstown Rebels, Soma, alphahouse, Thema and Trapez LTD. 'Solitaire' finds Quenum on fine form; on the lead track, dubby FX and bass shaking shots roll out over an urgent disco beat, muted brass and technoid stabs fire from all directions as the tension building pads flourish. Shadowy forces are at play on 'Mystic'; discordant sounds echo and bellow over reverberating percussion and a dense back beat that fire into life with shuffling hi-hats. Wrapping up this welcome return to the label is 'Mystery'; whipping snares and industrial clangs rumble over the urgent drums for more hypnotizing dancefloor work from Philippe!

On Scissor and Thread's fourth release of 2016, newcomer Villete takes a turn in the spotlight on their deep house stunner, 'Girl Next Door'. The A-side opens with the swelling pads and earnest hi-hat of Dreams". A distant voice declares everyone is devoted to their emotion, it's me and my imagination' before a springy bass line drops in, ushering in the mantra never be afraid to dream". A brassy synth further envelops the listener into the track's warm embrace as layers of percussion skitter in and out of focus. September' takes a turn for the cerebral with its' skipping hi-hats and airy pads. A springy bass line is accompanied by celestial synths that envelop the senses, making this psychedelic cut primed for after hours devastation. Villete goes even more cerebral on their introspective title cut, dialing back on the BPM, but keeping the energy high. A hushed bass and thudding kick take the backseat, allowing the hypnotizing, submerged pads and swirling, reverbed synths to take center stage, transporting dancers into eye-closed euphoria. The EP closes with the murky drum tones of Rillia". Droning pads, delicate claps, and a shy, skittering shaker keep things bubbling and light above the track's thicker than molasses kicks. Deep house maestro Darand Land takes his turn on the aforementioned track, lifting it out of the murk and straight up to the heavens and drenching it in his sun-kissed, euphoric style.

Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy, Gear, Sniff, Chisel, Bump, Nosebag, Charlie, Toot, Chang, Bugle, Gak, Beak, Chabayo, Nose-Up, Chop, White Powder, Yayo, Showbiz, Hurry Up, Noriega, Industry Powder, Blow, Snow, White Lady, Nose Candy, Dancing Dust, Bolivian Marching Powder, The Devil's Dandruff, Tokyo, Bazooka, Chicken Scratch, Nose Rave, Personality Powder, Percy..... Daniel Wang

ears ago he started putting together some selections for a friend of his: Luca. The intention was to pick songs to be played during car rides, and like any other kind of ritual, this too would come with strict rules. You'd have to go throw the whole selection of 100 tracks without skipping, because every single one was important. Be it the sounds, the arrangement or its creativity, each track was there for a very specific reasons. It quickly became a monthly event which for several years evolved in a deep musical research without genre boundaries: Disco and psychedelic, soundtracks, library music, exotica, electronic and dance music, italo, new wave, pop or prog. Tracks of each and any historical period and provenance had been featured in this special compilations. But it wasn't always that easy to come up with the right piece and eventually Francesco started producing a few on his own to fill in the gaps. After six tracks, it was quite clear that there was a project developing, one in which he could finally experiment freely, leaving behind the rules that often come with dance tracks. Of course, no name could have been better than the one of his friend that had inspired everything And so L.u.c.a was born. Now, while preserving the same mind set, L.u.c.a is back with an album that embraces a new-hippie vibe, strongly pervaded by a mystical naturalism. This is a whole new universe in the making, where rumbling magmatic atmospheres evolve gradually in a journey through an idealist new world, celestial interludes revealing a full take over of nature, with a pervasive library feel that dates back to the great Italian masters, carrying on Edizioni Mondo's legacy.

Vinylmania: As classic disco came bounding through the late '70s and into the electronically orientated sounds of the '80s, New York was one of the undisputed frontiers for the latest developments in dance music culture, nightclubs and the art of DJing. At the center of this seminal time for vinyl culture was a store called Vinylmania, set up by Charlie Grappone in the heart of Greenwich Village, Manhattan, just as the culture of 12-inch singles and promo copies was taking hold. From supplying Levan, Tony Humphries and many more with the latest imports to championing the emergence of house music in the mid-'80s, Grappone and his staff played a significant role in New York's own dance music story. Through the '90s and up until closing in 2007, Vinylmania was a store that catered to DJs from across the complex mixture of racial, social and sexual demographics that made up New York and its legendary nightlife. Man Friday: As the NYC Peech Boys came to an end, Man Friday became Larry Levan's newest production project. Fronted by Kofi Morny and Brodie Williams, their dubut single 'Love Honey, Love heartache' was released by Vinyl Mania in 1986 with Larry Levan at the helm of the mix. Love Money: In the spirit of most dance music borrowing elements from other sources, 'Love Honey' was heaviliy inpired by another Paradise Garage & Loft classic from 1980 and its remix in 1981 by UK Outfit Funk Masters / TW Funkmasters. A dubbed out track big in the Jazz-Funk scene in the UK, it became a hit among underground Deejays in Both NYC & Chicago. Love Honey: No matter what list you look at. 'Love Honey' is always attached to Larry Levan's tenure at the Paradise Garage. All the elements of a Garage Track are here; Dub Echoes, Synth Basslines, Percussions that linger, FX -that one can only dream of hearing on a Richard Long System- and an Organ, because after all, they say the Garage was like going to Church. Remember when you'd buy a record after hearing it at the Club We miss that. As a result, We are proud to Introduce Get On Down Sound with the aim to bring back our favorite Dance 12's to a new generation of Vinyl-DJs. Re-mastered for optimal club use, these are official re-issues of some of Dance Music's most influential cuts.

De Sluwe Vos (Dutch for 'The Sly Fox', a name derived from Aesop's fable of the Fox and the Crow) is the newest addition to the Dutch house and techno scene. His productions are supported by artists such as DJ Sneak, Joy Orbison, Boddika andBicep. Moreover, De Sluwe Vos has a packed tour schedule and travels many miles for all his national and international gigs.

With strong hooks and dirty kicks as his specialities, De Sluwe Vos has released multiple tracks on labels like 4Lux and Slapfunk. Lately, this cheerful producer from Dutch city of Deventer has even been gaining a foothold in the pop scene. His gig at Noorderslag did not go unnoticed: national music platform 3voor12 named him the best act of the festival.

De Sluwe Vos mixes various styles to create his own 'signature sound' with which he manages to constantly keep himself at the center of attention. His 'OG Anthem' is possibly one of the most notable tracks of the moment, this underground hit found its way to the surface and received airplay on both Dutch radio station 3FM and BBC Radio1.

With his discography, De Sluwe Vos is constructing a steady career. But he's not one to stay hidden away in the studio: he's at his best when dominating dance floors in clubs and at festivals. His ultimate goal is to bring the crowd to a higher state of mind, where worries simply disappear and the music takes over. Time and time again, De Sluwe Vosprovides proof for the big bang theory with his performances. Whether it's at Awakenings Festival in the Netherlands or at Together Festival in Cardiff: during his shows he is pure energy. His duet between his Roland TR- 909 drum computer and turntables is always a bold endeavor, just like his stage diving.

The fact that he is a fixture of the club scene is proven by his monthly international gigs, his own night The Core and his notorious live act. With the audiovisual show 'Kontra live', De Sluwe Vos is well underway to becoming 'one of the greats'. And that's no fable!

New label from Holland run by Developer of Modularz. The new label is focusing on powerful techno tracks in raw form.

Raised in a musical family Anastacia first developed a career as a dancer, appearing in video clips and on MTV shows. Her debut album Not That Kind was released in
2000 and immediately struck a nerve in Europe, Asia and
Australia, before hitting it big in the US.


Her striking looks and most of all her remarkable vocals had her searing up the charts, helped by hit singles such as 'I'm Outta Love', 'Cowboys & Kisses' and the title song. Teaming up with some of the most successful songwriters of the time, her expressive alto voice had that rough edge needed for an identity of her own in blasting Pop/Rock/Soul tracks that did well both at home and on the dance floor.

Influenced more by Aretha Franklin and Tina Turner than contemporaries Britney Spears or Christina Aguilera she appealed to an adult crowd, eventually turning her into the 'World's Best Selling New Female Pop Artist' at the 2001
World Music Awards.

They say all good things comes in threes, and with the marking of Nachtbraker's 3rd release for Heist, we can confirm this universal truth once again. Maurits Verwoerd comes back to Heist with more dancefloor muscle than ever before, and shows us great development of his sound: while keeping his unconventional drum patterns and love for the deeper side of house, he adds some filtered funk flavor along the way. 'Gotta act to react' drives on a saturated bassline, a hypnotizing guitar lick and some seriously loose hi-hats, but really delivers once those hard to place filtered hits come in. 'Pollo con Pollo' is potentially Maurits' most clear attempt at a straightforward groove, with a lovely dreamy guitar loop running throughout the track. Add his loose sense of arrangement and changeovers, and it's still anything but straightforward. The B- side gets nice and weird with 2 versions of Intermezz(l)ow, the one being a lovely textured interlude and the other a rough drum workout built around the same theme. When we asked Maurits who he wanted to have as a remixer, he suggested he'd do a remix himself. We knew better than to argue with him, and since he is who he is, we're not entirely surprised he came up with a great dubbed out acid-tinged flip of 'Gotta act to react'. This EP really shows Nachtbraker's steady rise and will most likely take him out of the shadows he so enjoys, into headline territory and we're glad to support him in this journey. Sincerely yours, Lars & Maarten

DYAD006 sees Ben Gibson and Fundamental Interaction resume their collaberative project with two pieces of driving, hallucinatory techno together with a remix by US techno producer, Developer.

Following the release of 2015's Animistas album on Mindtours, Steevio returns with the fourth and final volume in the Modular Techno series after starting the project in 2012.
Initially conceived as he moved his studio practice towards a purely outboard, analogue, modular synthesiser set up, the Modular Techno series has charted the development of Steevio's exploration of this working practice both on record and on stage. The work involved in live appearances across the UK and Europe over the past four years have fed into the creative process, with rehearsals for sets often yielding the material that has ended up on vinyl.
Volume 4 is arguably the darkest instalment in the series to date, dealing in a strict economy of minimalist rhythms and off-key melodic touches while still easily identified as the unmistakable tones and distinctive grooves of Steevio. In the grand tradition of techno as visionary music, the dystopian tone that lingers throughout Modular Techno Vol 4 points to a future of uncertainty, but this is far from nihilistic music; always within the darkness remains a glimmer of hope.

Thomas Blanchot, 40 years old percussionist and drummer, started his production structure Mato Production in 2001, where he collaborated and directed for many projects.

Composer, music publisher and producer of music for TV, advertising, films and records, he also began a career as reggae producer since 2006, under the name "MATO". Since then he's released music through various projects concepts, coming out through labels such as Makasound, EDR Records or Big Singles. In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions.

Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records. And in 2014, he presented Homework Dub, giving his own vision of the multiplatinum classic album by Daft Punk, quickly acclaimed internationally as a true performance.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from original soundtracks. Imagine if Lalo Schiffrin, Nino Rota, Gorgio Moroder, Ennio Morricone or John Williams had been blunted at Lee 'Scratch' Perry's Black Ark studio... there you go, this is Hollywoo Dub!!

Our fight is not against flesh and blood, but against the rulers, against the authorities, against the powers of this world's darkness, and against the spiritual forces of evil in the heavenly realms.

Nick Höppner returns to Ostgut Ton after last year's Folk album and a split release with Fort Romeau (Cin Cin, 2015). The Fantastic Planet EP sees him collaborating with Japanese DJ and producer Gonno on three bouncy, clubenabled tracks, steeped in early 90s House and UK Electronica vibes.
Höppner met Sunao Gonno on his first travels to Tokyo in 2008 where they clicked immediately: A similar musical upbringing from Post Hardcore to club music paved the way for Gonno and Nick where the language barrier would've been a stumbling block otherwise - firstly as a foundation for a personal relationship, later for an ad hoc three day stint in Höppner's studio when Gonno visited Berlin for his DJ debut at Panorama Bar. Despite the limited time together, all three pieces evolved from initial jams and sketches to tidied up tracks, not only sharing a resembling emotion but also playful and detailed musical elements.

Spocking Fivers' on A opens on a more jazzy and breakbeat note, with snapping fingers, various synth pads and percussion slowly building layer upon layer, up until a warm kick, some gentle melody and bubbling sounds take over. It's a grower, in terms of running time and track development.

Fantastic Planet' on B1 comes with a strong, continuous 4/4 bassline and organic percussion from start to end, further on dominated by hypnotic melody stabs and a swelling climax - a muscular yet detailed piece. Finally As Above, So Below' follows more romantic and dreamy motifs, by using a more mellow downbeat theme it lets all squeaky sounds mesh nicely.

Ep number four of this series of eight remastered tracks with remix-tributes to the techno legend Christian Morgenstern is here, and kicks off with D_func's remix of Steigreider on side A. Creating a warm grayscale atmosphere, the track is carried by a heavy sub kick groove that's saturated with the modern industrial energy that proves Kowalski's skills as a techno craftsman. As a contrast, Jeroen Search's remix of Aces High on B1 is a more minimal interpretation, carried by a slowly developing beat and playing skillfully with the most recognisable elements of the original. The final track, a remastered version of Morgenstern's Lydia To The Edge Of Panic is a timeless classic, painting a Morgenstern-typical distant and dream like landscape and opening up into a widescreen chord progression, with an epic build up.

COUNTERSTRIKE stand as one of the hardest production entities to pin down in the heavy-hitting end of drum and bass, delivering exceptionally well-executed cuts across the multiple sub-genres of the scene to carve out their unique sound. Following up a string of releases across leading labels in the scene, which sparked as early as 2001 and sees them today as one of the leading forces with their heavy sound - they unveil their 2nd LP through their own Algorythm Recordings - FEAR DIVISION DESTRUCTION.

Opening with the ominous tolling of church bell, before dropping with a sample that places tongue firmly in cheek - DEMONS pairs Counterstrike with US producer Gein to deliver a stripped wonky shuffle between dnb sub-genres for the most depraved of dancefloors. The LP also delivers hefty collaborations with the Panacea and Eye-D, with TOCKOTRONIC bringing heavy sweeping tech and a trance-flavoured breakdown, while HOW IT ENDS strikes with filthy acid-influenced crossbreed. Titular track FEAR DIVISION DESTRUCTION places it's roots firmly in the Portuguese sound, delivering devastating waves of pulsating techno-influenced dnb. AGAINST THE GRAIN leads from towering bass into a proud display of Counterstrike's broad range of influences - with hard and heavy dnb melding perfectly with neuro. SHOCKWAVE delivers an angrily syncopated growl perfect for inciting unhinged, abandoned delirium across the rave, whilst THE RAGE shows the true power that a Counterstrike snare can deliver. THE SIGNAL drops with furious break beats, juxtaposed by a funky triplet rhythm on the switch. VOLCANIC sees them combining forces with one of the scene's top MC's - Coppa, to deliver a nasty slab of future hip hop.

FEAR DIVISION DESTRUCTION delivers what it promises, an aggressive but highly-tuned odyssey into the core of hard dnb that will rip your soul out through your eardrums and leave listened palpitating in the dance.

The new Analog Solutions 018 , label owned by the Spanish producer Eduardo de la Calle, will be released in May.This time presenting a various artists, by Kristina and ORBE, that combine an ep with a personal character, full of floating arrangements and inherently techno flavor, but sophisticatedly Dub. It seems that the label Analog Solutions will take refuge next references on collaborations lauching a series of various artists so better to be alert .

Different artists will take the place like Japanese Takairo Oishi, already on catalog reference 015 from the spanish label, and also appear in the reference 019 coming soon.

On side A we have 2 tracks of ORBE, the first A1 titled "Modern Cicles it is certainly an exercise in resilience and compromised to the authentic,
where Fernando Sanz aka ORBE develops a track infinite and penetrating where arrangements certainly exemplify the finest and purist made in Spain techno.

The second ORBE track A2 , entitled "Beyond The Ubiquity" reflects the good moment that Madrid based producer ORBE is going on with , and drops certainly an epic ideal for closing sets track with melodic nuances and highly useful for high voltaje DJ,S .

The novel but solid Kristina opens side B1 with his tool "Hydragea", where again, based dub elements, manages to build a disciplined rhythmic atmosphere , at the same time delicate, and that will delight lovers techno more fluctuating.

In the side B2 kristina it attack with "Dicentra" .A extremely funk track with multiple hi hats variants, and where the first minute of listening past, one enters a deep cerebral hypnotism .Dicentra is without any doubt one of the highlights of the record, where Kristina synthesized based revers again and again succulent and repetitive sounds, which make the reference number 18 Analog Solutions certainly Essential to find a place in the case of any dj.

This summer will mark the celebration of 5 Years for Power Plant: it's more than a label, it's also a bold artistic offshoot for La Fleur and the artists she nurtures in her electronic garden. And in 2016, those artists include Circo Loco residents Acid Mondays, the super-talented Jesper Ryom, Knutsson/Berg with Acid Nord and hot PP newcomer Justin Massei, who chooses to 'Diss Ya'. And then of course there's La Fleur herself, who offers up the soulful 'Caged' exclusively to the Power Plant 5 years compilation as a reminder of her developing melodic yet underground sound. Limited vinyl edition comes with exclusive cover with cut out logo on inside out paper sleeve with matt disco sleeve inside.

Najem Sworb brings us the thirty-fifth edition of Wolfskuil Records adding the Strasbourg-based artist to it's roster. Previously releasing on labels such as Clone Basement Series, Technorama, Metis Recordings and the now defunct Ai Records, Najem Sworb has been transforming through various genres of techno since his debut release in 2007.

Rad.Velc EP brings us 4 original tracks playing upon the themes of house and techno. 'K-159' opens the EP with a fierce relentless bass and squeaky pads ending in a harmonic disarray while 'K-166' follows in a smiliar suit rather with a dub inspired rhythms. On the flipside, Najem Sworb switches up the vibe with 'K-abL' which illustrates the artists more house influences with mystical synth lines. However, 'K-177' demonstrates his knack for techno, delivering an explosive device fit for the dance floor. Together in all four tracks Najem Sworb shows his expertise in unique synth work providing a quirky cadence to his beats.

DJ FEEDBACK
early support from
Answer Code Request: Interesting stuff here!
Rødhåd: Downloading for listen.
Anthony Parasole: This is quite good!
Ben Sims: B2 doing it for me.
A.Mochi: A2 is for me!
Angel Molina: K-abL/K-177 as my fav track on here, especially the last one, killer one.
John Osborn: Really strong release - loving A2 & B1.
Isolated Lines: Very cool tracks! I really like A2 and B2. I'll play them.
Jeff Derringer: Sounds very nice! I'll try this in Detroit.
Phone: Love hypnotic tribal sound of K159.
Truncate: Solid tracks all around... but really digging that B1 track.
Orde Meikle: Great release.
Ekserd: Another excellent one on Wolfskuil. Super nice!
Echoplex: Fresh.
AWB: Long time fan of Laurent's work.
Invite: Another great ep on the label! Keep them coming!
Jeroen Search: Yes!
Blawan: Very nice ep! Full support.
Joseph Capriati: Downloading for Joseph Capriati.
Mr. Jones: Always a surprise what new sound Wolfskuil will bring.Like this funky and fresh EP.
Richie Hawtin: Downloaded for Richie Hawtin.
Marcel Heese: Killer!
Randomer: A side bangs.
Robert Lamart: Support.
Svreca: Feeling specially K-177.
Mosca: Love that K-166 synth!
Tensal: B2 is my pic here, nice stuff as usual in Wolfskuill.
Markus Suckut: 166 & 177.
Sinfol: Will try b2.
Ame: Thanks.

Second release on Misfit Melodies by an artists who wishes to remain unknown. Three tracks for almost any night club/rave situation - from heavy piano tracks to industrial ambient drones. Made by a DJ for DJs.

For our next chapter, there is Parrish Smith. In his wicked game of creation and demolishment he's working on combining organic and mental material which brings him to his first full-length EP. His melted personal stories convey through rough mechanics and exuberant expressionism. This tells the story of fulfilment, development and setbacks. Mixing up illusional layers of metal drums with harsh and rough moving synthesis. Polyrhythmical electroniczzz for the mind.

This is the new digitally remastered 2015 expanded edition of Soul Jazz Records' biggest ever selling release, 100% Dynamite! Ska, Soul, Rocksteady and Funk in Jamaica.
Since the album's original release nearly twenty years ago, 100% Dynamite has become a cornerstone of reggae: eighteen killer tracks that show the influence that American Jazz, Funk and Soul music had on Jamaican Reggae.
The proximity of the West Indies to the USA meant that many Jamaican musicians were influenced by American styles of music whilst at the same time defining new styles of their own such as Ska, Rocksteady and Dub.
100% Dynamite features some serious Jamaican funk by Jackie Mittoo, The Upsetters and Toots & The Maytals, the cream of Jamaica's jazz musicians such as Tommy McCook, Cedric Brooks and Lennie Hibbert. Also included here are heavyweight Reggae versions to Soul classics by Marlena Shaw's 'Woman of the Ghetto', Aretha Franklin's 'Rocksteady', Syl Johnson's 'Is It Because I'm Black', William DeVaughan's seminal 'Be Thankful' and more.
100% Dynamite also features revolutionary tunes such as Johnny Osbourne's 'We Need Love', Sound Dimension's 'Drum Song' and Lloyd Robinson's 'Cuss Cuss', songs that helped define a unique sound for Jamaican music in the sixties and seventies. These influences went both ways - check Brentford All Stars massive 'Greedy G', the basis for Boogie Down Productions' 'Jack of Spades', or Willie Williams' 'Armageddon Time', later covered by The Clash.
This new expanded edition features seminal tracks from the greatest Jamaican producers - Clement Dodd, Lee Perry, Winston Riley (Techniques) and many more.
The album is available as CD, heavyweight double vinyl (+download), plus digital.

SHMLSS consists of Bart and Michiel, two young Dutch guys who connected with each other through the Disco sound they both love. Always searching for those rare gems in dark, dusty old record stores, they often come home with the same records. Their dj sets are diverse and they have developed a particular sound. Resulting from the interesting mix of their personalities you can expect Disco cuts, Africa beats, Ambient stuff and industrial House grooves. Always carrying the latest (or oldest) vinyl's, they always find a way to surprise the audience and themselves with quality disco minded music for open minded music people.
Disco selectors at 22TRACKS Amsterdam , Releasing on Special Edition , Disco Deviance , To Rack & Ruin , Paper Disco , Because Music..

The mighty Brassfoot (Apron) going overseas with a devestating ep on the Dutch Bio Rhythm imprint, delivering five grim yet hedonistic & intense post-modern voodoo jack tracks, kickstarting what appears to be the labels' second phase.

For the latest instalment in the Apollonia story we look to Argentina and the talented producer Federico Molinari. Having been based in Germany for the last couple of decades, Federico has refined his sound, developing a strong signature through his DJ sets and his studio productions, most of which he has released via his label OSLO. Federico's ability to craft effortless grooves and timeless rhythms is evident here on this killer new three-tracker. Side A is the eight-minute long roller 'Congo Toys'. The focus here is on a crisp 4x4 beat, which keeps things simple - under this lies a sturdy bassline. All the while, the low end is accompanied by a series of bleeps, which could almost be the chatter between two archaic computers, modulated and weaving in and out of the beats and bass. On the flip, we have two more dance floor-ready joints. Like ' Congo Toys, 'Tres Cuartos' is focused around a simple foundation, with layers of unusual effects - an overriding sense of playfulness comes through in Molinari's production, perfect for the boogie down crew. Last up, 'Joyfex' takes us further into leftfield, hypnotic, hazy atmospherics draw us into their web and we're tangled up in a mesh of vibrating whirrs and echoing, distorted voices. Sublime business from an Apollonia favorite

With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.

This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.

This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP

A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.

Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.

The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.

He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.

This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.

Supernovas originally formed the basic chemical elements which subsequently merged in a myriad of variations, creating life as well.
All the components of our world descend from that single original replicating molecule.
In a primitive stage, a functional distribution of energy was regulating the self-selection as the only workable explanation for the design and variety of all life on this planet. Such harmony meant prosperity of hearth as a whole unique entity, a perpetual thriving of life cycles.
Meanwhile, humans developed their own ego to the point to think that they were fallen angels rather than risen apes. Their unique highly developed intelligence made humans the only rational beings on the planet, but it is by rational choice that they consciously keep inflicting pain and humiliation, a planetary torture running through the ages.
Proliferation of humans doomed the dynamics, tampering with the energy fluxes and distorting the relationships amongst the entities. By rationally choosing to ignore their native compassion, humans become guilty and they self-sentence their own end. We have gone too far and sacrificed too much to disdain the future that we designed now, while the metastasizing process of the planet grows, the past increases and the future recedes.

Zipper is Zemi17's second release on The Bunker New York, and sees him expanding his musical palette considerably, in which his gamelan-derived sound design pushes further out towards the expanses of techno's realm.
Zipper is the product of years of work. "The tracks on this record began as field recordings taken from Indonesia — insect sounds, gamelan, found sounds," says Kuffner. "Each of these tracks comes from a different stage of my music-writing process over the years. I eventually developed a kind of 'sketch and improv' technique, re-arranging groupings and arrangements of a series of elements. Zipper reflects a culmination of this technique, and in my opinion, it's representative of some of my best work."

The BTRAX records label is back after few years off, and we are sure that new EP will not disappointed you. We are very proud to put out 1 stunning track made by one of the label artist : Camille Rodriguez from Paris - France.Electronic music drives his life for over 10 years now, he has developed his own style incorporating all his influences. He is passionate about the live, and create that way with synthesizers, sequencers, BAR and samplers... He likes pushing himself sweating behind his machines, improvising at every moment, keeping control of every sound in order to play more intuitively, getting a better communication with the crowd...
'Andalusian 2.0' comes in two guises, the Original Mix which delivers some perfect techno keys and claps over its stomping techno beat, giving it live performance style flavor. The Traumer Remix takes it into darker warehouse territory but still retains the warmth and groove. Kaine's Remix delivering some tough dub techno workouts that still have just the right amount of funk and groove.

Eleanore Mills is a classic Soul singer with a sweet and sophicated voice, who recorded her debut album 'This is Eleanore Mills' for the Sylvia Robinson's All Platinum subsidiary Astroscope in 1974. The album has a broad range of Soul and early Disco/Soul cuts. It did not sell in vast numbers on its initial release but has become heavily in demand in the last 20 years and appeals to a broad spectrum of Soul and Disco collectors and DJ's.. Original copies are highly collectable and in mint condition now sell for around £300- £400. Eleanore went on to record with Norman Connors on his 'This Is Your Life' album in 1977 (recently issued on CD by Soul Brother) and then developed into singing Soulful house having a huge record with 'Mr Right' in the late 80's.

2016 reissue of an earlier album by Apparat, aka Berlin's Sascha Ring, who's also singing in Moderat, originally released in 2007.

"Apparat has had one hell of a year. His collaboration with Ellen Allien, the critically acclaimed album Orchesta of Bubbles, forged electrifying new connections between techno, electro and pop music. They developed the material into an electrifying live show that wowed clubs and festival audiences the world over. Apparat kept honing his solo show at the same time, delivering a powerful electro/techno laptop attack that would leave crowds twitching in its wake. And somewhere, in between all those activities, he managed to record Walls, his first solo studio album since 2003's Duplex. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming."