Stanislav Tolkachev is releasing a new double-LP through Krill Music called It Will Be Too Late Then.
The Ukrainian techno artist says he made the album by assembling tracks recorded over a three-year period, and he notes somewhat cryptically, "I think this record represents a phase."
As with most of Tolkachev's releases, the album will feature his own visual art on the cover. Krill Music, a Berlin-based label originally founded six years ago in Buenos Aires, is having it pressed in Argentina to support "the growth of the Latin American vinyl industry."
Tolkachev, who previously appeared on Krill Music with a track on a sampler 12-inch nearly two years ago, just put out a new EP on Mord. Rivet's Pohjola outlet repressed his 2011 ten-inch Why Are You So Frightened. He also recently shared a stream of an electro tune that's apparently coming out Umwelt's New Flesh label next year.
Midnight Special ride again with a new EP comprising 4 tracks of sample heavy house.
Midnight Special are Justin Drake, renowed Engineer formerly of seminal house duo Peace Division, and Kevin Griffiths, label head of Tsuba, Isle Of Jura and Love Creation.
The demons of night are out again: Seoul's one-stop shop creative collective Byul.org returns this fall with its third international album, entitled Nobody's Gold, out via Alien Transistor (worldwide) and the group's own Club Bidanbaem imprint (South Korea). Comprising 14 new songs, it's a dizzying, haunting affair that channels the group's manifold influences and references points (from post-punk to Stockhausen and back via club culture) and yet sounds intriguingly coherent.
Moving in and out of the shadows, Nobody's Gold breaks forth as pure sonic landscape - a universe of its own, folding and unfolding into both more experimental patterns, yet also with occasional hooks and dark catchy structures, gracious build-ups flickering among the hazy roar and thunder. After the screak and squeal of 'Lamb with a Wolf Mask,' the foreboding sounds of 'The Museum of The Two of Us' segue into a synthesized party tune about a missing friend being chased by police ('Nari Yuko Yin'), one of several vocal tracks with a sinister edge. Taking things up another notch, 'Friendly Enemies' is probably the closest this group will ever get to creating a stadium-ready anthem. On the other end of the spectrum, 'The Place Where Designers Go To Die' is a magnificent void with an immense and irresistible undertow...
Never too jolly (not even while 'Day Drinking at a Seaside Town' or during takeoff via epic pop tune 'Bats We Are'), Nobody's Gold compiles soundscapes with a very tangible, corporeal presence - iridescent sonic sculptures placed in unlikely settings (e.g. outer space, see: 'Dirty Dirtiness'), born at the fringes where night blends into day and vice versa.
Inspired by everyday life, half-remembered drug/club experiences, Pascal Quignard's disturbing La haine de la musique, Stockhausen and Bill Evans, the new LP sees the collective remain true to its DIY foundations while repeatedly questioning our listening habits and 'the exaggerated love for the concept of love,' as they put it.
Founded around the dawn of the millennium as a group of poetry-loving friends who'd occasionally meet for drinks, Byul.org has long become an extremely prolific and versatile collective within Seoul's scene: Main song-writer TaeSang Cho and his mates Yu Hur, Jowall, YunYi Yi, SuhnJoo YI, HyunJung Suh, and SoYoon Hwang went from publishing to recording, from releasing tunes to design, art direction and more. Although their list of clients includes Atelier Herme`s and the Venice Biennale (they did the Korean Pavilion twice), the group still remains a drinking circle of close friends at its core: Pals who simply like to create and carouse and dream and live and perform and play tunes together.
I Produced The Record That I, As A Music Fan, Wanted To Hear From Me."
Anyone Who Can Say That Has Already Won. "planet Of The Simius", The New Album Of The Berliner By Choice And Eternal World Man Kid Simius, Is The Opus Magnum
LP,180g, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART
James Clarke's Mystery Movie was released in 1974 as modern, small group compositions in various moods. Ideally suited to the new Americanised style of T.V. and cinema flm where music is used to create the mood and carry the action'.
So this collection covers a lot of bases, but it does so brilliantly and has absolutely no right to be such a fantastic listen from start to fnish.Mystery Movie is best known for the slick drum breaks underpinning the top-notch jazz-funk chase theme Car Patrol', the fuzz rifng and ARP soloing of The Heavies' and the slow-mo strut of Mystery Moll'. Study In Fear' and Empty Streets' are horror soundtrack fodder of the fnest sort.
However, it's the understated, plaintive pieces that we fnd the most rewarding.
Ambient feels and strung-out fried-folk treats, full of cyclical naïve melodies.
Music that evokes the 'downlifting' Ronnie Lane and Ron Wood instrumentals from their great Mahoney's Last Stand LP, as well as the beautiful soundtrack work of Jack Nitzsche and Ry Cooder. You might also recognise Waiting Game' from being sampled by melodic downbeat masters Express Rising.
Check Relaxed Theme', Quiet Girl', Routine Procedure' and Quietness Sustained' for a melodic, melancholic set, with the last three performed on just acoustic guitar and harp. Gorgeous work.
As with all ten re-issues, the audio for Mystery Movie comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.
Friendship. Gratitude. Music Passion. Turbo Recordings is proud to present the feel-good story of the year with the debut release from Tiga & The Martinez Brothers.
"This is a true labour of love,' says Tiga. 'Two of the most refreshingly positive figures in dance music teaming with me, the heartless cynic with a heart of gold. Positivity and actual quality: the best of both worlds."
Tiga was originally meant to produce tracks for the DJ duo, but the sessions soon evolved into a full-fledged collaboration. The three men manned the studio in psychic unison, laying real-time drum programming and minimal storytelling over a techno foundation to create a truly dynamic dynamic. The result is some of the best work of their careers.
'Chris and Steve brought a deep knowledge of house music and DJ energy-flow, while I left my deep hatred of live studio jam sessions at the door," adds Tiga. 'These tracks are tougher, funkier and weirder than 99.3% of contemporary dance music, and it's all because we were brave enough to get sincere and real."
The material was written and recorded over the course of two sessions at Montreal's Lost Star Studios, a haven for vintage gear and laid-back vibes right out of your most casual dreams. It was easily the most fun anyone's had in a studio since 2014.
"You can keep your VIP laminates and hot flavors of the moment,' concludes Tiga. 'I'm here to tell you that there's nothing cooler than the magic of friendship.'
Part II of the collaboration is set for release on The Martinez Brothers' Cuttin' Headz label under the name The Martinez Brothers & Tiga, an inspiring nod to the importance of fairness in project credits
Next up on Nang it is time for a slice of spot-on male vocal house and disco. Liverpool based Thomas Lang made some fine albums in the 80s and 90s with John Murphy (who went on to carve a highly successful career in movie tracks) and David Hughes. Somewhere in between that and a string of recent albums (Torch Songs and The German Alphabet) he also managed to buy one of the finest recording studios in North West England, Parr Street Studios (the "Abbey Road of the North").
We are pleased here at Nang to see a new avenue turned in Tom's life, his first foray into the dance world. "Scared" was written with late Liverpool songwriter John Uriel quite some time ago. It first emerged as a b-side to Tom's comeback single "August Day" in 2011. Here at Nang we always loved the smooth and sophisticated vocal and melody. When Tom suggested some remixes we were on board.
"Scared" is a peak time vocal house track, here presented with remix options.
The a-side sees fellow Liverpool DJ crew The Imposters taking the track on a dubbed out trip, before flipping over for their hypnotic, swing-house rework which highlight the layered vocals and smooth sax. Camanchi take us for some peak time House action.
Here you have, the snippets of our third release. This time VCO join us with one track. We want to say; as many paths in life, music it's a way to express ourselves. Therefore, this time we want dedicate this vinyl with all our love, to Charliemoon.
Opening with a 130 BPM hard kicker techno tune, at the Doom frontier.... Full promess also of a good mix with De L'eauuuu : acid sirens and kicking Raving Hardtechno... And more to get on this delicious hard techno/ hardcore and acidcore record... With, to notice, some AcidTrance oldschool accents... BANGING and alive structures. Wake Up !
Finale Sessions launch a new series entitled Unreleased, and their kicking things off with label boss Michael Zucker sparring with Jonno & Tommo (more commonly found lurking around labels like Ornate). As you would expect from Finale, it's a deep house masterclass, with Jonno & Tommo leading the proceedings with the deft piano licks and hard grooving sub bass of "Dirty Nylons" before Zucker steps in with the pattering rhythms and swooning pads of "Just Believe". On the flip Zucker embraces a gentle strain of electro for "Narrow Is The Gate" before Jonno & Tommo round the record off with the immersive tones of "Shark City".
Als Oasis 1997 ihr drittes Album "Be Here Now" veröffentlichten, waren sie nicht weniger als die größte
Rockband der Welt. Bereits im Vorjahr hatten sie einzelne Songs live gespielt und auf verschiedenen Singles
veröffentlicht. Dennoch waren seit den Beatles die Erwartungen an ein neues Album nicht mehr so hoch
gewesen. Die Reaktionen waren seinerzeit gespalten, aus heutiger Sicht muss man sagen: Das war
Jammern auf hohem Niveau. Vielleicht war aber auch die Zeit einfach noch nicht reif für das, was vor allem
Noel Gallagher über Monate austüftelte, ausprobierte, wieder verwarf und neu erfand. Jetzt ist das OasisMastermind in seine Archive gegangen und hat das "verflixte" dritte Album noch einmal runderneuert. Neben
dem knackigen, entschlackten Remaster auf CD und Doppel-LP hat er aber für die Deluxe-Fassung sage und
schreibe 28 zusätzliche Tracks ausgegraben: bis heute nie veröffentlichte Songs, Single-B-Seiten, LiveAufnahmen und Demos, darunter die legendären ersten Skizzen von 14 Songs, die 1996 auf der Karibikinsel
Mustique entstanden.
A brand new collection of 13 dance classics & fans favourites. Includes "Thriller", "Blood on the Dancefloor", "Scream", "Dirty Diana", "Xscape", "Ghosts" & more plus a brand new bonus track which is a 5 song mix ('The White Panda Mash Up'). Fans can unlock an immersive augmented reality experience from their mobile device. Includes a collectable poster.
DRIVETRAIN (Detroit, USA) - 'Dirty Work (ft. Goddess Stephanie)'...Derrick Thompson's organically deep tribal rhythm is the bedrock for melodious chords and the cunning decrees spawned by Goddess Stephanie. MOTOMITSU (Paris, FRANCE) - 'November' ...a dark and haunting symphony, built on an infrastructure rich in keyboards, chorusing under syncopated jabs and hypnotic pulsating motion. JESUS GONSEV (Ciudad Real, SPAIN) - 'Countdown' ...an intelligent auditory marriage integrating the essence of an ante meridiem atmosphere with fathomless claviature and precision percussive penetration.
OSCAR HOLGADO (Seville, SPAIN) - 'The Wonderman'
...a sonic pilgrimage initiated with harmonic pad structure, advancing through walls of piercing string architecture, closing with a euphoric groove refrain.
A-TON ist eine neue Edition und Plattform des Berghain-Inhouse-Labels Ostgut Ton und konzentriert sich auf Ambient-, Archiv- und andere Musiken, abweichend von den
clubfokussierten Veröffentlichungen des Hauptlabels. Darüber hinaus markiert das erste Release auf A-TON - Chronicles I - den Beginn einer Serie von Veröffentlichungen Luke Slaters unter dessen Alias The 7th Plain und präsentiert geremastertes, zuvor veröffentlichtes als auch bislang ungehörtes Archivmaterial.
Zuerst erschienen auf General Production Recordings zwischen 1993 und 1996, lotete Slaters The 7th Plain die sich stärker ausbreitenden Facetten von Ambientmusik aus und trieb sie gleichzeitig an die Genregrenzen, indem sich The 7th Plain nicht auf beatbefreite Synthflächen beschränkte, sondern treibende Progressionen, nuancierte Rhythmen und raffinierte Melodien mit einbezog. The 7th Plains außerweltliche Musik entzog sich somit der genauen musikalischen Einordnung, nachzuhören auf den beiden Alben The 4 Cornered Room und My Yellow Wise Rug (beide GPR, 1994) - emotionale, gespenstische und eskapistische Musik, bei Erstveröffentlichung vorwärtsdenkende Alben, die in Rückbetrachtung die Zeit besiegt haben.
Ursprünglich aufgenommen in Slaters Spacestation Ø, nun für A-TON komplett geremastert, zeigt Chronicles I die futuristische Ästhetik und musikalische Agenda der Neunziger in einem zeitgenössischen Kontext, ohne Nostalgie aber mit dem Wissen um die Zeitlosigkeit dieser Musik. Mit sieben originären Stücken und einem unveröffentlichten Ken Ishii-Remix klingt The 7th Plain so beseelt und relevant wie eh und je.
Während "Boundaries" (von My Yellow Wise Rug), "Grace" und "Surface Bound" (beide von The 4 Cornered Room) Slater-Aficionados bekannt sein dürften, sind "The Super 8", "T Funk States", "Slip 7 Sideways" und "Chords Are Dirty" bislang ebenso unveröffentlicht wie der zuvor erwähnte Remix von Ken Ishiis "Extra".
Mit Chronicles I erweitert The 7th Plain die Wärme und Kälte analoger Synthesizermusik auf das digitale Zeitalter: Während A-TON Chronicles I als Doppel-LP und CD
veröffentlicht, wird die Musik selbst in verschiedenen Digitalformaten zum ersten Mal überhaupt erhältlich sein - wodurch The 7th Plain einer neuen Generation von Hörern zugänglich wird, die die Vielfalt elektronischer Musikgeschichte erst für sich entdecken.
Luigi's Primo and Unconditional Beauty both made their way through the charts to become number one in the techno charts and we are tipping Magic Land to do the same! Storming his way back onto Drumcode Luigi Madonna closes off the Summer with a 2 track EP smasher that will see him welcome in Autumn with a bang. Each track contains the solid, raw drums that are the backbone to each track Luigi has conjured up.
With a brooding undertone, the simplicity found in each track gives the lead lines and ideas more space to breath, which overall creates a unique and charismatic submission that can only be found from the Italian.
out of Stock
Last delivered 3 years ago available to reorder, subject to availability
Uncto's seminal 2013 release Pain was an uncompromising exercise in rhythmical brutality amidst a conflux of themes of suffering, industry, man, and machine.
The record now sees itself reinterpreted and reimagined under the auspices of some of the scene's most eminent and accomplished forerunners in what is perhaps, as it arrives on an opulent red double-vinyl format, the label's most ambitious addition to its catalog to date.
Long-time trailblazers Exium first take on 'Dirty Minds' as they apply their unequalled peak-time treatment. While retaining the driving force of the original, the Spanish duo transmute its somber sense of narrative into a singular and infective pattern that unrelentingly maintains its intensity throughout. In contrast, Frenchman Mondkopf's reconstruction is a radical departure from its progenitor, almost as if the merciless titular oppressor ('Schinder') has been injected with an empathogenic truth serum and made to face the toll of his deeds. Serving as his final penance, the resultant insuppressible melodic radiance gushes to the fore as powerfully as his remorse and tears.
Continuing on the second record, Canadians Orphx draw upon the immense and unwieldy cyclicality of 'Judas Cradle' as they deconstruct the torture device into a prolonged yet unfaltering dirge. Harnessing the raw power of the original, they adroitly fuel and layer the modular solemn synths of the drawn-out nine minute epic. Finally, the unequivocal master of industrial cannonry, Ancient Methods (DE), takes on and reins in the unyielding beast of 'It,' leaving the monster not only tamed but fully subjugated to his will. Now capable of executing the most inscrutable order, itsees itself violently degenerated to the barest of elements and recombined anew, with the cadence of its frame shifted and staggered to the striding rhythm of a being more machine than flesh. Providing solace and closure are Uncto themselves, as they complement the compositions with two droning interludes.
Mastered by CGB at Berlin's Dubplates & Mastering, Pain Remixes will be available at fine vinyl retailers
Inspired by the success of last summer's retrospective on Poker Flat, Steve Bug takes up his Traffic Signs moniker once more for a fabulous jam that more than merits the 10-year wait. The uncredited tunes that first came out under this name were classic jack tracks that devastated dancefloors - and 'Cookie Jar' is a more than worthy successor. This is stripped-down house, Chicago-esque, direct and determined to make you move. Berlin legend Jake The Rapper adds downright dirty humour with a spoken vocal fit for an age of internet sextapes and celebrity photo hacking. 'I like what you're cookin. Those cookies smell goooood,' he rascalously declares. Three mixes sprinkle the musical equivalent of chocolate chips, pecans and Brazilian stardust over the original. Steve Bug makes fine adjustments for the club, bouncing around the kick drums and doubling the synth riff with strings, while Joyce Muniz's dark, strobing treatment adds a dirty bass line for sexy, sweat-drenched dancefloors everywhere. Stripping away the vocal on the dub, Muniz's production talents are all the more scintillating, irresistibly kinetic from beginning to end. The brilliant video for 'Cookie Jar' has been created by swiss-french duo Ben & Julia, who let us take part in their playful, colorful and surreal world that suits the song so well.
Future Brown greifen auf Themen wie digitale Interkonnektivität, globale Reisen und eine vitale weltweite Künstlergemeinschaft als Inspiration zurück. Von regionalen US Rap-Varianten zum UK Grime, von Dancehall bis Reggaeton - Future Brown spinnen eine zutiefst durchdachte Ästhetik, die intuitive Verbindungen zwischen diesen eigentümlichen Sounds aufbaut, um dann den individuellen Kollaborateuren eine Stimme zu geben. Kollaborationen wie mit Shawnna, Kelela, Johnny May Cash oder Sicko Mob schlagen Brücken über musikalische Grenzen und Klüfte hinweg, während Future Brown zur selben Zeit den eigentlich geographischen Abstand zwischen den einzelnen Künstlern bewusst machen wollen.
BERLIN, BRISTOL, CAIRO, JOHANNESBURG, KYIV, LAGOS, LISBON, LUANDA, NAIROBI, NAPLES
50 electronic music producers and instrumentalists from these ten cites were invited to collaborate
in studios over the course of more than six months. As a result hip-hop from the squats of Naples,
dubstep and bass from Bristol and Lisbon, experimental techno from Berlin and jazz-tnged deep-house
from Kiev are thrust upon the pumping kuduro of Luanda, the free-thinking crackled electronica of
Cairo, the afro-jazz of Lagos & Johnannesburg, and the Sheng street slang of Kenyan hip-hop and rap.
A selecton of the results of these cross-contnental experiments can be heard on this record.
After her much lauded debut 'Playin' Me' last year, Cooly G returns with an EP that switches from songwriting mode to create extended, spaced out and rhythmic house tracks built for the dancefloor. 'Hold Me' starts with minor note stabs and Cooly's vocal refrain 'Hold me' over a punchy bassline. The rhythm slowly builds as the vocal becomes more dubbed out and the atmosphere more smokey. 'Oi Dirty', made with DVA, is a piece of wonky, rhythmically lopsided house with a cavernous elasticized bassline and lots of micro detail destabilising the track then bringing it back, pitching drums and mini breakdowns. 'Molly' is a slow burning 4/4 house track built around a static grid that gradually builds up, getting stiffer and more intense, with wobbly acid-like synth lines and hissing static stabs, underpinned by a one note bass kick. It's a masterclass in creating tension with sleight of hand production moves.
The next full length from techno tastemakers Delsin is co-released by the man who made it, Morphosis aka Ra.H aka Rabih Beaini, on his own Morphine Records, as well as by close associate M>O>S. Entitled "What Have We Learned", the Lebanese-born producer's album is due in April 2011
10 years on and still going strong, Dessous makes its mark once again with the release of three exclusive remixes of classic tracks, on a brand new off-shoot project: Dessous Classics.
Hector moralez forms another formidable partnership with jump recording's dj jaz. coming from the west side offers 2 top-notch original cuts and kicks off with a bang on a1.
Slum Science S Hudd Traxx Rmx
Awesome hardcore to industrial hardcore sampler on WISHCRAFT RECORDS! Headliner of this phat 12" is the A1 track DIRTY DANCE WHORES by DJ PARTYRAISER & SCRAPEFACE which is already featured on the new THUNDERDOME 2006 compilation and gets hammered by loads of top djs like TIEUM, PARTYRAISER, DARKCONTROLLER, LENNY DEE and many more!
2026 Repress
The Teflon Dons' Rudiments EP, released in 1996 on Worldship Music and now reissued on FRL Classic edition, is one of those records that perfectly embodies the most authentic spirit of 90s underground deep house. From the very first bars, Rudiments EP stands out for its raw but deeply soulful sound, built on filtered samples, “dirty” drum machines (typically SP-1200) and an aesthetic that mixes Chicago and Detroit.
Erdgeschoss (The ground floor) makes no distinction between old and new. And certainly not between old and young.
On the new record, two generations of KöPi uninhibitedly indulge in a brand of dirty minimal purism between Schranz and Glanz (glamour) between bouncing and banging.
Romance for everyone, you revelers.
Purity and dirt - from 133 1/3 bpm upwards, things really take off, and another door opens and closes again. Because. Bass drum on, bass drum off.
Kölsch meets Pils.
Trance meets Kraut - Haspel Haze goes loud.
So what. Your backpack is about to burst open.
Erdgeschoss unterscheidet nicht zwischen alt und neu. Und schon gar nicht zwischen alt und jung.
Auf der neuen Scheibe frönen zwei Generationen KöPi hemmungslos dem Dirty-Minimal-Purismus zwischen Schranz und Glanz - zwischen hämmern und pimpern.
Romantik für alle ihr Jecken.
Reinheit und Dreck - ab 133 1/3 bpm plus geht die Post ab und eine andere Tür auf und wieder zu. Denn. Bassdrum an Bassdrum aus .
* long version / previously unreleased on vinyl
** exclusive / previously unreleased
Felix Laband's highly acclaimed electronica masterpiece album "Dark Days Exit" (2005) is now available as an Extended Version 2LP vinyl. Originally planned for last year's 20th anniversary, this special edition features a new design by Felix Laband and includes a double-sided DIN A2 art print. Dark Days Exit features four exclusive tracks, alongside five vinyl-only tracks available for the first time in their original long versions. Listening to the key track, Sleeping Household, on Dark Days Exit is unsettling: like being an impostor rambling around an uncanny house, a Lynchian leitmotif in the form of a young girl divulging secrets that you probably shouldn't hear. Dark Days Exit is an album that paints an interior landscape, an invitation to transgress private thresholds. Made with old-school production tools that require hands-on application, Dark Days Exit is a sound-production tour de force. The music is as wide as the savannah and microscopic at the same time, a lesson in what can be achieved when 'music' is placed on an equal footing with sound as a phenomenon, by an artist who decides to apply themselves without reserve. The masterful manipulation of reverb and delays and hyper-detail was a generation ahead of its time, and Dark Days Exit is preferred by audiophiles for testing their systems. Dark Days Exit is intimate, demanding, and a masterclass in tension, and Laband's ability to use all sound without hierarchy to paint a detailed personal vision — one that is less overtly political and streetwise than on subsequent albums — is unsurpassed. Most discerning listeners are into music because, in the hands of a master, it can manipulate our mood and transport us. Felix Laband opens with a sonic portrait of spring happiness and gradually dismantles the atmosphere in front of our ears, as epitomised by the haunting track Black Shoes. No sooner are we afraid than the artist drops us off where we started. In many ways, the intimacy derives from the tight group of friends and believers whom Laband corralled as contributors: Mark van Niekerk (xylophone, "Miss Teardrop"), Jane Rademeyer (clarinet, "Black Shoes," "Radio Right Now"), Brendon Bussy (mandolin, "Black Shoes"), and Derek Gripper (sampled violin, used throughout) and Alex van Heerden on Minka. The difficulty in categorising Dark Days Exit is probably due to Laband listening mostly to ambient and classical music at the time, and consequently registering the album at the lush, cinematic end of the electronic spectrum. There is poise and restraint in the spare use of beats, and when they do appear, they hit hard. Forged in the optimistic post-apartheid years, Dark Days Exit is music about life and death, spanning hope, despair, terror, tension, with humour and empathy. Twenty one years on, the album's gravity endures, due to its almost perverse authenticity, its timeless themes of hope and despair, and its apex level of technical mastery. The additional, immaculately produced tracks add new rooms to the uncanny house we are invited into.
Once upoun a time Fat Mike came up with the idea of calling up 101 of the best old and new punk rock band around, have them each record a 30-second long song, then put all the tracks out on one record to make the best punk compilation ever. And guess what, the dream came true. The 101 most famous punk rock bands around doing each a 30 seconds long song Back in print for the first time in ten years! Pressed to Lime Vinyl Features super rare songs (recorded exclusively for this compilation) by Green Day, The Offspring, Blink- 182, Pennywise, Rancid, Less Than Jake, The Vandals, Bad Religion, and more
Amazing house anthems! The debut release, FD001 quickly gained international attention for its lowslung, dirty house groove, catching the attention of Claude VonStroke and the Dirtybird camp, with the track selected for Claude’s Live @ Movement mix. Since launching the label, Freak Division has continued to build momentum with a growing catalogue of original releases while also maintaining a strong presence on respected house labels worldwide. Drawing inspiration from their US house influencers, the duo’s recent productions have evolved to incorporate the warmth, swing and character of classic 90s house. The new direction has also seen the emergence of their latest moniker, House Monsters, showcasing a deeper connection to timeless house music while pushing their sound into new territory.
