Search:disco!

Mehr Clubfutter von Drew Lustman aka FaltyDL auf Ninja Tune. Vorliegende Single beinhaltet zwei unveröffentlichte Tracks und kommt im kultigen Ninja Tune Disco Bag Sleeve!

Karousel is the new alias from Irish producer Gavin Herlihy. Forged in the fires of house and determined by a steely dedication to timeless deep dancefloor theory, the alias begins life on one of the UK's most trusted vinyl labels, Illusion Recordings. Gavin started learning to produce in 2005 and less than a year in scored one of the tracks of the year in 2006 with Machine A Homework, a techno opus hailed by Laurent Garnier and DJ Hell as one of the tracks of the year. Over the next few years a move to Berlin lead to gigs at clubs like Panorama Bar, Fabric and later Circo Loco while his productions took root in a variety of different genres and big labels. Karousel is the expression of Gavin's house leanings rooted in the sampling of dusty old jazz and disco records and the use of hardware.

Ever since the debut, 'Communication EP' which also marked our 50th release, Alexander Lay-Far has a special place in the Local Talk family.Since then things have been going well with plenty more releases, tours, the launch of his label In-Beat-Ween Music plus a new full length album done.
With so many things on the go we're of course very happy to welcome Lay-Far back and with him this time, two UK house legends that need little introduction, Ashley Beedle and Darren Morris. Together the trio produced an EP that embraces the charms of both disco and house and we think it hits on every level. The A-side is dedicated to 'Doctor Feelgood', which is just as the name suggests, a delicious disco house cut that will make you feel good.Extra bonus points for the wonky bassline.
On the flip, you'll find two versions of Slope. The first one is an easy / breezy number built around jazzy drums, warm chords to catch your breath for a minute or two, lovers of rhodes should lend the track an extra ear, it's pure bliss. After those 5 minutes and 14 seconds has ended Lay-Far steps into the remix arena, turns up the tempo and sends the track straight to the dance floor. No need to fiddle around too much, he just sprinkles some extra touches of Lay-Far magic to the original and voila, it's done.

eddie c come back to endless flight with 2 brand new tracks and excellent move d remix!
title track on a side is one of the most danceable track from eddie c. it's simply floor killer.
on b side,"flying blue" is alternative disco stuff,it's typical eddie c sound.
move d remix of "la palette" is stripped version of original brazilian house track.
it's more dj tool for the fan of work shop or german deep house.
enjoy!

a highly regarded producer and musician who used to be in the midst of the NY metro breeding reactor that spectatuclarely revived and modernized disco and italo disco since the turn of the century and added some hotliped live brass to their platters and whose sought after releases under his own appear appear much to rarely dons his house cloak and dagger for 3 sneaky new chapters on story. not wasting any time on unnecessary nicety the a-side track will send up a whole colony of ants right up your pants riding on a steamrolling percussive disco groove garnished with cut up vocals and fx trickery. B2 is another chicago style wedding of disco and house with a jubilant, string backed female vocal snippet tweaked over a heavy groove while the first track on the flip is a subterrenean, groaning dub house affair that reminds of a slowed down John Ciaffone banger. no matter which chapter you jump to here it puts you right into the action.

- Original Motion Picture Soundtrack
- 12 new compositions by Gesaffelstein
- Pressed on two 180gram heavyweight vinyl
- Screenprinted gold on black gatefold & inner sleeves
- Musical score art print on X-Ray paper
- Limited to 1000 copies worldwide

Having changed the face of electronic music with his hard-edged and uncompromising but brilliantly persuasive sound, Gesaffelstein returns with 10 original compositions created for the motion picture soundtrack of new thriller Maryland, which also comprises three classic tracks from his discography.

Pressed on double 180-gram heavyweight vinyl, housed in screen printed gatefold and inner sleeves with one of his musical scores printed on X-Ray paper, this beautiful vinyl edition is limited to 1000 copies.

Gesaffelstein is already an electronic music icon, having conquered dance floors and festivals across the world with the sound of his outstanding 2013 album Aleph, which also spawned two incredible music videos clocking up millions of views in the process.

Acclaimed at Cannes, and starring Diane Kruger and Mathieu Schoenaerts, Maryland is set to become a cult classic.

N5MD is proud to present Fall Into Fire, the new LP from Dag Rosenqvist. Fall Into Fire is Rosenqvist's first album since the self-inflicted conclusion to his Jasper TX nom de plume in 2013 with the stunning An Index of Failure LP (HANDMADE BIRDS). While no longer veiled behind a moniker Rosenqvist fittingly presents his most personal and arrestingly raw release to date. There are threadbare echoes of loss, fleeting moments of rage, and a restless undercurrent of remorse that Rosenqvist presents with few concessions. Fall Into Fire finds Rosenqvist at his most achingly radiant while displaying some of the most contrastingly vast passages of any of his discography. Fall Into Fire is out May 6th on LP and download formats.

After impressing with his debut album, 'Buy The Ticket, Take the Ride', on Tsuba last year, Magic Feet label boss Craig Bratley is back with a hot new EP on his own label that features tracks by Unisexl Audio Club, Beato Cozzi and the man himself.

Since 2014's LP release, Bratley has been remixed to great effect by Ewan Pearson and has continued to take his machine made, darkened disco sounds to clubs and festivals around Europe.

His sound is robust and analogue, has come out on labels like Andrew Weatherall's Bird Scarer and Is It Balearic and now for the first time arrives on his own Magic Feet, a label that has showcased sounds by Timothy J Fairplay, Antoni Maiovvi and Tommy Awards amongst others.

Up first here is Unisex Audio Club with 'Event Duality,' an elastic, low swinging, mid tempo track with frazzled synth lines, pixelated melodies and lots of dark energy. Flabby bass adds serious weight to this most arresting affair.

Beato Cozzi offers up 'Killer ', which comes on like a long forgotten Italo B-side, a chugging rework of a solitary 1990 chart hit that sounds all the more resplendent for its rainy alien melodies, extra visible and twinkling chords and invitingly laboured drums.

Then comes Bratley with the first of two cuts. 'Photons' is seven minutes of loose and lush house music with arcing pads, feel good chords and emotionally swollen melodies. It's the sort of breezy, al fresco tune that would sound great at a boat party and shows a more tender, vulnerable side to Bratley's work.

His second, 'Analogue Voodoo', is a slow and sparse affair where futuristic synth lines, apocalyptic drums and darkened spoken word snippets all conjure an unsettling, industrial mood. It's a fresh sounding cut that is destined to stand out on any dancefloor.

This is another fine offering from Magic Feet that offers disco lovers of all shapes and sizes something to explore and enjoy.

No longer one of Denmark's best kept secrets, Holtoug's talent is firmly out of the bag as he touches down on hafendisko with the yearning 'Stay In Love' - a tune worthy of comparison in feel and tone to Âme's smash 2012 remix of Ry & Frank Wiedemann's 'Howling'. Marrying the drive and energy of dance music to the singer-songwriting sensibility of his indie roots, it's a delicious mélange, intense yet featherlight, booming yet ethereal: an intricate and playful soundworld characterised by breathy pads, deft percussive flourishes and a swooping, swooning bass that basks in all its glory on the accompanying Instrumental version. On remix duties, hafendisko labelmate Yannick Labbé - best known for his work with Trickski and long association wth Jazzanova/Compost - gets all dark and menacing, adding harsh, machine percussion, vibrating subs and a discombobulating counterpoint of eerie, sustained tones. Meanwhile, Martin Gretschmann (The Notwist), operating under his Acid Pauli pseudonym, mutates the vocal into a cooing, howling, wah-wah as playful intertwined synth lines dance and bounce off each other gleefully. Perpetually inventive, otherworldly stuff!

* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.

* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.

* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).

* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.

* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.

The Summer of Sangaile is a rare film that takes you by surprise with the honesty of its performances, the poetry of its narrative, and the crispness of its cinematography, which captures the beauty of the girls and the unique Lithuanian scenery equally well. Writer/director Alante Kavaite uses transfixing imagery and exquisite casting to bring to life her distinctly layered story of young love and big dreams. The end result is a rapturous film experience. The Summer of Sangaile won the 'World Cinema Dramatic' Directing Award at Sundance Film Festival - the worlds most important independent film festival and is featured globally in theaters over this summer /autumn. The Directing Award: World Cinema Dramatic was presented by Taika Waititi to: Alanté Kavaïtéfor The Summer of Sangaile / Lithuania, France, The Netherlands (Director and screenwriter: Alanté Kavaïté) - Seventeen-year-old Sangaile is fascinated by stunt planes. She meets a girl her age at the summer aeronautical show, near her parents' lakeside villa. Sangaile allows Auste to discover her most intimate secret and, in the process, finds in her teenage love, the only person that truly encourages her to fly.

Introverted Dancefloor is Bevan Smith, a New Zealander who has released music under names like Signer and Aspen, and who has played in the Ruby Suns and Skallander throughout the last decade. His prior output has been spread over many international labels and has touched on sundry genres (like techno, IDM, folk, ambient) while featuring restraint and sophistication as compositional hallmarks.

As Introverted Dancefloor, Smith has kept those features as guiding principles while allowing a more propulsive low end to dominate the construction of this music, winding up with understated but energetic dance tracks. Gestation, too, is a prominent attribute of this music, though not necessarily an obvious one. Smith started these songs with hundreds of layers, which he then pared down to a few core elements before rebuilding again.

For Introverted Dancefloor, Smith limited himself to the use of two synthesizers, one mic, one filter, and one effects processer. This constraint is not obvious upon listening as the album works across the idioms of electro, Detroit techno, pop house, and leftfield disco, playing with the line between fluid melody and drum machine programming. Each track has a playlist as its scaffolding, Smith's goal being to filter a certain set of varied influences through just a couple of instruments. Metro Area's Miura' (Original Mix) turned into Introverted Dancefloor's Happiness is such a mess/Pipedream.' If there can be such a thing as a subtle banger, then Smith may have earned that distinction here. Take it high' seems to be a constant ascent with its climbing bass and layers of chords, relying on no hackneyed drops or releases for its crescendo. Smith's layering practices show their precision on tracks like Even if you try' and Tiger bones,' in which disparate elements contribute to pointed melodies, an unidentifiable percussive part entering the same expressive plane as a sung line.

One of the record's most striking features is Smith's inclusion of certain elements of a song in a neighboring one (vocals from Pipedream' in Happiness is such a mess,' a synth line from Even if you try' in Always turn your head') to lend a phantasmagorical effect to the procession, blurring the distinction between a track and its reprise. The result is a song cycle wrought from painstaking labor, while nonetheless retaining core values of amorphousness and motion.

An obscure tape release discovery by Red Light Radio founder and close friend of the label, Orpheu de Jong, led to Music From Memory's latest release.This two track 12' highlights the work of electronic music pioneer Joel Graham, a San Francisco based artist who self released two cassettes in 1984/85.
Originally recorded and performed live on pre-MIDI analogue equipment in 1982 as an outline for a live performance, these visionary tracks provoke much of the same sensibilities found in both contemporary dance music as well as in works of more established vanguard artists of the time. Slowly unravelling and deeply hypnotic, Joel Graham's music seems to manifest a doorway to a profound new world and can be seen as a forerunner of what was to come in electronic music.

Part 2 of Editors Kutz 005 pressed on Purple Vinyl feat cuts from JKriv / Noodleman / Riccio & EmVee who round things off nicely.
With edits and reworks on little known or impossible to find originals, and some beloved classics, this release covers various disco styles, keeping the right balance between the up-tempo and low tempo vibes. Limited Repress act fast.

Composer, musician and producer Nils Frahm steers the new edition of Late Night Tales, set for release on 11th September. A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm's Late Night Tales haunts and beguiles. It's not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted. Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound's 'Mango Drive' adding to the haunting hypnosis, while choral interruptions aid Miles Davis' 'Générique' on its journey towards the light. Meanwhile, on Boards Of Canada's 'In A Beautiful Place Out In The Country', the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend's cat Cleo transitions playfully between Nina Simone's definitive version of 'Who Knows Where the Time Goes' and unearthing the gentle electronics of Dub Tractor. Eddy Arnold's 'You're The Only Star', a country tune that sounds like its transmitting from a mid-west diner wireless circa 1947, is straight from the soundtrack to an imaginary David Lynch movie, comforting and dismaying all at once. This crackly reality abounds, as on Finnish band Gentleman Losers' 'Honey Bunch', that adds an unsettling texture, with a sound that is modern but as nostalgic. Frahm's own tracks bookend the mix, opening with an inspired "rework" of the infamous silent John Cage piece '4:33' ("I sat at the piano in silence and worked from


there. I listened and took in the atmosphere and this is what came out of it") and ending with a solo piano version of 'Them', taken from his recently released score of the film 'Victoria'. The traditional Late Night Tales spoken word epilogue is voiced by actor Cillian Murphy (Inception, Batman, 28 Days Later), reading a short story by Edna Walsh (Hunger, Disco Pigs).

Tensnake's standard In The End (I Want You To Cry) release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert's & Dicky Trisco's respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

Over the past years Bézier has seen releases under the Dark Entries record imprint with the most recent 'Telomeres' EP this year. The title track or pronounced 'mina' translates from Japanese to 'Everyone'. Mina is a journey through space with the initial ascent marked by a moody window of time in which uncertainty dominates the mindset of the passengers. Once they break through the atmosphere and are proceeding as planned they land on the final destination, an interplanetary discotheque. Mina was recorded this year with Mark Pistel on the helms for mixing and features SF drummer Kevin Woodruff of Tussle fame providing live drumming for the last portion of the track. Along with the title track the b-side includes tracks previously released on compilations but appear here for maximum record playing enjoyment. 'Serengeti Drive' which appeared on Honey Soundsystem's earlier HNYTRX compilation of queer dancefloor artists is the slow burner of the group. 'Mysteries of the Deep' which appeared in the JACKTONE cassette compilation of Bay Area electronic stars is the soundtrack to an underwater expedition. Both tracks were recorded, produced and mixed by Robert in his home SF studio in 2009.

Bound Adam' is the first in a series of reissues by American artist Elysia Crampton (f.k.a. E&E) for Total Stasis record label. Originally self-released in 2011 as digital files, this is its first vinyl pressing. Its three tracks are an ode to the artist's Ford Ranger. 2011 is also the year Ford discontinued the Ranger line. As Crampton says, "it is a speculative/ontological poem about a relationship with a car."

7" vinyl record
Mastered by Brandon Hocura
Cover + insert by Felix Lee

A booming clavinet led banger from everyone's favourite disco uncles, Eric Duncan and Dean Meredith.Heavy on the lasers and scything hi hats with a bassline as deep as you’d expect from these fellers.Marcellus' trademark sound is all over his remix - sultry rhodes and sweet, driving funk, and The Central Executives version strips it to the bone, revealing not a skeleton but a robot.
A robot playing a fucking saxophone! Rock on, dudes.

Audio Casette Tape
Following up on the experimental sounds of LP3 and LP4, RATATAT return to their core guitar-driven sound on Magnifique which was recorded over the course of four years in various studios in different locations including Jamaica (the country), upstate New York, Long Island, NY and their home studio in Brooklyn. The art for Magnifique includes a series of sketches drawn by Mast and Stroud during the recording sessions. What else can you expect on Magnifique: pedal steel guitar, the sound of a tiny 1940's guitar amp found in a thrift store in Guadalajara used on Intro,' a song named upon the discovery that the guys both had posters of a ' Countach' on their walls in junior high (the duo met in college), and a cover, their first ever, called I Will Return' by Springwater (aka Phil Cordell).

With Dan Curtin on the 4th release, Melodymathics has undoubtedly one of the key players in the development of electronic music as we know it today. With 'deserted station' Dan Curtin is as innovative and vital as he has ever been.
This funky production, with the typical Dan Curtin edge, covers the sound of the past, the present and the future.

'I want you' the result of a collaboration between 3 Belgian talents, discovered by Melodymathics. Amtek&E-Freak ft. Mike Ekim are bringing the contemporary club sound, though remaining funky and soulful, with catchy vocals. A real dancefloor killer!

Melodymathics holds the tradition alive to indulge the vinyl dj's. This time the funky loops are provided by the mysterious Melodymann and Sjef Wanders.

Detroit's veteran Gari Romalis will release the 3rd Eat More House record.We're happy to have him on board. A great mixture between disco & house on 4 fantasic tunes. Vinyl only - be fast and grab your copy!

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Propelling Down Under techno and house into the world's clubs with classics such as Phreakin', LSD and 6AM in the mid-90s, djhmc (Cam Bianchetti) is rightly hailed as the 'godfather of Australian techno'.

Now with more than 30 years experience of transcendentally moving dancefloors - and 20 years with his productions, remixes and edits; djhmc is back with a new label - reflector.

This will be an all new platform to showcase totally remastered versions of his back catalogue as well as to provide a vehicle to bring his current and previously unreleased
work to his already loyal following and to new believers.
Cam Bianchetti is a man of many talents who is very much in demand as a DJ and a producer, and he applies the same meticulous attention to detail and knowledge of what works a dancefloor across both disciplines. Under his djhmc alias, it isa very broad church that covers disco, house and techno, whilst his other monikor, Late Nite Tuff Guy focuses more on his love of Funk & Soul. When it comes to giving a classic sound a new contemporary twist, there is simply no-one better.

With the arrival of the 'reflector' label the world is his, and he has embraced it whole-heartedly as in the past the world embraced djhmc; once again its time to prove why he is one of the most talented techno and house producers and DJs to ever grace the turntables....the Godfather is back!

Three mixes from the brand new Berlin based label/project 'In Love We Trust'.Classic New York house inspired for the A side opening tune, driven by an off partiture alto-sax unfolding over a throbbing bass, four to the floor beats and great message delivered by a strong male voice, followed by a slower tempo roller-skate, atmospheric, Garage inspired disco cut with a solid 80's style linn drum grove, catchy riffs and a powerful bass line.
Rougher beats and a more acidic vibe for the flip side, direct and effective floor stomper guaranteed to raise heartbeats.

After releases for Discos Capablanca and Moon Glyth, Food Pyramid join Especial for a remix EP of their album-only track Oh Mercy. Updated by the inhouse team Apophenia, before being given the full italo treatment by SF's Inhalt and a true Especial twisted FX double mix by the man, the myth, Jamie Paton.

Minneapolis collective, Food Pyramid are welcomed to the label with the twisted psychedelic electronics of Oh Mercy. Taken from their Mango Sunrise album of 2012, its warped breakbeat jam-fusion has long been a secret favourite of the label, so it seemed right to present it on a unique EP.

Starting with a 2015 rework at the hands of the label's in-house production team of Apophenia, the original is extended with respect, keeping much and taking out little (the horns) so that the originals groove can ride and ride.

This is followed by a superb remix from Inhalt. After themselves appearing in the form a remix EP (EES009) it seemed now was the right time to get on board with their own take and in the process creating a pumping Italoesque classic. In the same way Timmy Regisford turned NOIA's Rules To Survive in to a mid-80s Chicago all time top 10, this remix harks to all that was good of that time, notably replaying much of the
instrumentation, while keeping it aimed squarely at today's floor. Who said Razormaid

On the flip are killer remixes from the label's main man Jamie Paton. Locked in an increasingly modular headspace, he digs deep and expansive. Premiered on the recent Beats In Space showcase, the Remix kicks far and wide, pushing club systems to the max, this yearns to be played at 7am Panorama. Sliding straight (and you'll miss it) in to the Dub, stripping it wayyy back, let the drums do the talking. Oh baby, have mercy on me.

Bunny Lee's Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975.The style based around the Philadelphia disco or the Philly Bump ,the sound of an open and closed hi-hat was not necessarily novel but Striker's innovations of bringing a number of different elements into play most certainly was.
Johnny Clarke's interpretation of Earl Zero's 'None Shall Escape the Judgement' not only opens this se but also opened the floodgates for the flyers style.
The story had begun the previous year with Lowell'Sly'Dunbar.
'Sly played the flying cymbals first'....I said to Sly' You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' AND Sly played it before that was with Skin, Flesh & Bones on 'Here I am Baby Come and Take Me' the Al Green tune, when Al Brown sung it for Dickie Wong with the 'tsk,tsk,tsk' sound on the hi-hat,I named it flyers but they didn't know what flyers was!!!'..Bunny Striker Lee
Before too long 'Every tune we put out we put the rhythm behind it' and every Kingston producer followed suit with their own variation of Striker's Flying Cymbals Rhythms...........

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

Back in 2013, Futureboogie released The Fade EP by Outboxx, a record that received critical acclaim from the who's who of music press, helping to propel Outboxx on the upward trajectory they've managed to maintain since those early releases. Unsurprisingly, Futureboogie are delighted to get the pair back for more.
Having developed their sound in the two years since, the pair has refined the raw ingredients of those records to show a combined maturity beyond their collective years. Previously the pair of producers (Matthew Lambert and Jake 'Hodge' Martin) have released music on respected independent imprints such as BRSTL, Idle Hands, Well Rounded Records and Local Talk; honing their analogue rich sound that touches on the hard edge of drum machine rhythms crafted by Hodge and the harmonic, jazz soaked embellishments from Lambert on Keys.
'Day One' opens with the sound of a string sample drifting behind warm drums to beautifully open up proceedings. As the track develops with an explosion of shuffling hi hats, the main hook enters with more than a nod to the classic Acid basslines of a 303, built to hypnotize dancers into the early hours with subtle simplicity.
The EP's title track 'Under The Lights' shows the pairs appreciation of Disco, with overdriven drums and a dotting bassline setting the feel. As the track develops, elements of Detroit enter the picture, with more string samples setting the key, and further allowing Lambert to contribute more of his signature Jazz licks as the track winds down to an unwanted close.
'Gift of Life' features the always-beautiful vocal contributions from long-term collaborator, Naomi Jeremy. Having featured on some of their most memorable releases to date, Jeremy's vocals again add a complexity often found in Jazz, but with the drum machine funk of 90's House; creating a sound that blurs the lines between sampling and original composition, uniquely, as only Outboxx can.
The record ends on the appropriately named 'Closing Titles', a track seemingly built to allow Lambert the opportunity to show his prowess and mastery of melody and harmony. Creeping basslines and warm chords mix with looped drum machine rhythms to wind down the release elegantly, showing the pairs versatility and understanding of each other's strengths.

Nach der Veröffentlichung seiner "Dreamzone EP" verbrachte der gebürtige Finne Jaakko Eino Kalevi das vergangene Jahr hauptsächlich damit, Shows und Festivals von Europa bis Japan zu bespielen. Letzten Sommer veröffentlichte der finnische Workaholic zudem seine "Yin Yang Theatre EP" für das Beats In Space Label des New Yorker DJs & Radio Hosts Tim Sweeney, die mit ihrem bohemen Disco-Sound erneut aufzeigte, wie vielseitig Kalevi sein kann. Die zweite Hälfte des Jahres 2014 mixte Kalevi sein fertiges Album dann in New York mit Nicolas Vernhes (The War On Drugs, Run The Jewels) und zog anschließend nach Berlin. Sein selbstbetiteltes Synthie-Pop Album erscheint Mitte Juni auf CD und Vinyl via Weird World/Domino Records.

Matt Nowak drops a trio of mesmerising techno tracks on his Zaijenroots imprint this June with appearances from Sebastian Klenk and Jerome Sydenham. Matt Nowak inaugurated the Zaijenroots discography under his No Mad Ronin moniker alongside Jerome Sydenham in 2013, before reappearing for the second release with Quiet Daze (Ian Pooley) on remix duties. As the label returns for its third outing Nowak pairs up with German producer Sebastian Klenk whilst distinguished veteran Sydenham carves up a remix. 'Aleister' sees Nowak and Klenk create an acosmic track that initiates with a touch of funk before sullen synths make way for punchy SP-1200 beats and unsettling throbs. Sydenham provides a rendition of No Mad Ronin 'Chemical Planet' from Zaijenroots second release, featuring a perennial hook joined by intangible spoken samples and a subtle sub bass. Lastly 'Lenore' ties things together with a subterranean cut abundant with echoes and spacey atmospherics.

Clip! steps up to the plate as FINA White continues to set out its stall as a go-to label for top quality techno.

Second up on FINA White is a four tracker from rising Barcelona producer, Clip! Since being cherry picked by RBMA back in 2011 Clip! has quickly established a name for himself in and amongst the city's growing pool of electronic artists and further beyond. Diverse releases on on Discomaths, Classicworks, Sweat Taste and JD Records, coupled with his signature 'hardware only' live shows, showcase his sound shifting style and impressive knowledge of sound design - unsurprising perhaps given his classical and jazz music roots.

Clip! is a chameleon of sorts and for FINA White, he puts on his thick skin and offers up a package of pure and unadulterated peak time cuts.

The title track is an absolute sonic stonker. Its menacing bass line, low end throb and sharp edged hats roll and slice with a galvanized intent whist the old Chicago house sample and gradual layering of pumped up beats and sustained synths give it an unmistakable groove with attitude.

Meanwhile, long drawn out synth tones, distorted vocals and broken beats make up the stirring intro of 'R36'. The calm is short lived of course as the steady beat gives way into the track's defining hard-hitting bassline; one that is enveloped and then let loose again by a carefully crafted fusion of atmospheric sounds.

On the flip side, 'Forward' is, well... forward; a no messing, relentlessly percussive banger. And wrapping up the EP is 'Dissonance's Technique' an equally straight-up, rough n ready belter which once again showcases Clip!'s skills in the studio. Watch his space.

'Brotherhood EP' is out on FINA White.

Repress!

THE BROTHERS first caught our eye in 1975 with the release of their RCA album Disco Soul featuring a cover version of Carl Douglas' King Fu Fighting', an instrumental take on Barry White's You're My First, My Last, My Everything' and, of course, the superb Are You Ready For This'. Blackpool Mecca were certainly ready as it soon filled the floor and, 40 years on, it's still filling the dance floor. Vying for attention are The Trumains with their 1977 New York smooth disco anthem Ripe For The Pickin'', their final recording.

Following a three year hiatus from Cadenza, the label is delighted to welcome back Felipe Valenzuela and Dani Casarano for a third release on the Luciano's imprint. Both producers are respected individually for their prowess in the studio and as DJs, but as a combined force collaborate with magical effect in the studio. Together the pair run Melisma records and considers each other as musical soulmates. The pair's familiarity with dance floors across the world is reflected in these two tracks for Cadenza, continuing the labels rich musical history of electronic dance music fit for all purposes. 'Instinct' opens the release with an instant bubbling groove, supported by a groovy bass melody, crunching claps and shimmering rides, dancing around the tracks core rhythm. Subtle drum edits, reverberating snares and warm pads grab the listener's attention, whilst the tracks central rhythm maintains the pulse and lively feel of this exceptional production. A versatile slice of intricate house music that will find it's way into many sets this Summer. 'Impulse' sees the pair venture into more avant-garde territory; exploring themes of dissonance, syncopation and tension and release. Lo-fi electronics and discordant pianos notes create a unique pallet of sounds responding to each other. Offbeat string arrangements and shimmering synths evolve over the 14+ minutes track duration. Perfect headphone electronics with stacks of detail and fresh touches.

The Bunker New York is proud to announce the second EP from Mehmet Irdel, also known as Løt.te (pronounced Loat-tey), following his debut release on our label in 2014.
Løt.te's 'History of Discipline' EP features two distinct moods and detailed, industrial-inspired sound design with a firm focus on the dancefloor.

"When I discovered the heavy, dark techno coming out of the U.K. and Japan in the '90s and '00s, like Regis, Surgeon, Female, and Takaaki Itoh, it was a revelation," Irdel says. "Until then, I hadn't realized that techno could reference the grittiness and physicality of industrial music and make it work so well, and feel natural on the dancefloor." These muscular, upbeat techno artists are the perfect reference point for Løt.te's music, but Irdel takes his work one step further, featuring an emotional complexity that many other producers lack. "I'm interested in techno that feels both masculine and feminine at the same time," says Irdel. "These days, most techno feels either very intricate and clean, or very noisy and macho. What interests me is finding an in-between."

True to its name, "History of Discipline" is the darker track here. Built on a foundation of heavy, swinging kick drums and shuffling hi-hats, the track builds to an enormous climax before winding down into a rattle of metallic percussion. "A Mutable Constant" is more ambiguous, featuring a rubbery bassline and steadily-building background percussion - until a moody, longing synthesizer pad begins to take center stage. "I don't honestly know where the emotion in 'A Mutable Constant' came from. That wasn't the plan when I started working on it," recalls Irdel, "but I incorporate a mix of analog synths into my productions, like the Korg MS-20 or Doepfer Dark Energy, and their sounds sometimes surprise me. My production process begins and ends with a computer, but I love being able to have that '90s analog sound' in my work. I'm very conscious of not having any 'overly digital' sounds in my tracks."

Løt.te's latest EP embodies the spirit of techno while simultaneously pushing its sound forward. "Techno, for me, is an experiment in human perception. A way to find the fringes of perception in rhythm, melody, and emotion, to push all the way to the edge, to find the breaking point. I'm trying to push techno's boundaries without ever losing sight of 'what makes techno techno': its restraint and groove."

Four years since they released Dring, Nôze are making a very welcome return to Circus Company with their fifth album Come With Us, and once again the pairing of Nicolas Sfintescu and Ezechiel Pailhes has yielded a collection of captivating and curious songs that could only come from the unique sound world they inhabit. As has been evident throughout their career from their early experimental house days through to the more recent song-based material for Get Physical, the Parisian duo have always moved on from album to album, maturing their sound to deliver a new experience for themselves and their listeners every time. On this occasion, Come With Us finds Nicolas and Ezechiel in a particularly introspective mood. Even as their work has naturally turned more to home-listening craft over the years, here they revel even more in personal reflection both musically and lyrically. Tracks such as Saint' conjure up the romanticism of dustbowl blues with its vagabond guitar tones (played by long time collaborator Thibault Frisoni), while Nicolas's voice reaches new distinctive heights in spellbinding tales like Apache". Emiliano Turi also lends a new sense of natural groove to the Nôze sound with his live drumming, and as ever, Nicolas and Ezechiel are keen to bring their friends into the fold for guest vocal spots. Dani Siciliano spars beautifully with Nicolas on the disco-inflected album opener I Need To Know". dOP vocalist JAW, fresh from his Midtown project, joins in for the bittersweet balladry of Come With Me".

Home Records is the musical output for Marcus Henriksson aka Nobody Home, Minilogue, Son Kite on which he writes:This vinyl is a monument for the discoveries in the search for the Self. Contemplating and exploring the questions; Who and what am I Where do I come from And what is this 'I' that we all are refering to These two musical pieces and the artwork is the outcome of these matters in mind. Mastered by Marcus 'Nobody Home". No limiting! No digital plugins!!! Little compression and some analogue EQ'ing to keep the original space and dynamics in the music.

With Record Store Day upon us once again, Quantize Recordings felt it only right to unleash a killer EP to the World boasting exclusive edits from 2 of the biggest names of the scene - Danny Krivit & John Morales.

Danny's edit of 'Is It Love' is taken from the recent Quantize Quintessential CD release (also mixed & compiled by Danny Krivit), as you'd expect it's lovingly crafted and receiving some serious rotation from the industry A listers.

On the flip the monumental DJ Spen & Gary Hudgins's remix of Melissa B 'Be Free' finally (and due to much demand) gets an exclusive vinyl airing, whilst John Morales delivers a stunning disco reworked remix of Sheila Ford's 'The Best of My Love'. Limited edition pressing on Royal Blue vinyl!