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Dark Star Safari, a newly formed group featuring Samuel Rohrer, Jan Bang, Erik Honoré and Eivind Aarset, present its eponymous recording debut, an evocative song-driven album. These songs conjure shadows of memory, clouds of dreaming and silhouettes of foreboding through the album’s layered, many-textured fabrics and Jan Bang's silken delivery of Erik Honoré's acute lyrics. Dark Star Safari is the work of four kindred spirits, their open modus operandi, and a remarkably interconnected creative nerve system. Key to their collaboration is an organic freedom that enables the music “to fill itself in", to be self-actualizing via the musicians as medium. The music of the 10 songs resulted from a two-stage process: an initial phase of free flowing open improvi- sation, and a subsequent exploratory phase where hidden potenti- als were discovered and nurtured. The groundwork of the album’s music originates from a session initiated by Samuel Rohrer, who invited Jan Bang and Eivind Aarset to the renowned Candy Bomber studio in Berlin. The ses- sion was run under the imaginative craftsmanship of sound engi- neer Ingo Krauss, who worked in the famous Conny Plank stu- dio, and its recording and mixing employed sophisticated use of vintage analogue equipment alongside cutting edge digital pro- cesses. This meeting opened the door for something larger to emerge. The group did not settle for just the outcome of the initi- al open improvisation. They were driven to dig deeper, to atten- tively examine and manipulate the material, in order to discover what it had to offer. This caused a creational chain reaction, forcefully spreading across the group. During this second phase, Jan Bang, while meditating upon the possibilities and reach of the improvised material, felt a strong urge to give additional shape and colour to it by singing. Thus, he organically stepped into the role of vocalist, a role he had not pursued since the early days of his musical career. He sent the results to Erik Honoré, who immediately was inspired by its po- tential, quickly penning lyrics and providing the project with its name. Honoré composed two additional songs, Mordechai and Fault Line, and thus rounded the project out towards a fully reali- zed opus. The group continued this back and forth process, with Samuel Rohrer and Eivind Aarset bringing in fine-tuning and e nrichment to the song structures and textures.

With a discography held in such high esteem amongst fans of conceptual French pop and soundtrack composition, the likelihood of finding an unturned stone amongst maestro Jean-Claude Vannier’s fertile psychedelic rockery falls somewhere between slim and skeletal. Even the most intrepid explorers of the most fearless and fastidious nature should naturally expect to encounter one or two shadowy characters when braving the oblique corners of the Vannier vault, but few lost souls cast a darker silhouette than the cinematic obscurity known only as La Bête Noire (The Black Beast).

Lost and presumed missing for decades the soundtrack tapes to this lesser-known 1983 French thriller (featuring a cast culled from films such as Alphaville, The Modern Couple and Sweet Movie) captures the revered composer and arranger of Serge Gainsbourg’s Histoire De Melody Nelson embarking on a darker exploration of free jazz, frenzied batucadas and cyclic carousel psychedelia. Counting key players of the French jazz scene within its ranks, The Insolitudes group comprises a crack team of Palm/Futura/Actuel/Saravah regulars such as saxophonist Philippe Mate´ (Acting Trio/Mate´-Vallancien/Tacet) alongside drummer Bernard Labat (Mad Ducks) and legendary Arpadys/Voyage rhythm masters Marc Chantereau and Pierre-Alain Dahan (Brutus Drums) all of whom alongside Michel Zanlonghi (Ensemble De Percussion De Paris) make up this thunderous, tumultuous, four-headed rhythm machine bridging an authentic gap between The Jef Gilson Groups and France’s signature “cosmic” revolution. Naturally these previously unheard compositions are spearheaded by lead pianist and composer Vannier and for devotee’s of his 1972 concept album L’Enfant Assassin Des Mouche there is much to admire and cross-reference herein.

Having been the most loyal and long-running guardians of Jean-Claude’s monster archive over the past two decades Finders Keepers Records are proud to present this first catch of newfound vintage Vannier discoveries on this limited and unlikely free jazz 45 single (which should find a perfect home between coveted Euro jazz 7”s by Krzysztof Komeda, Franc¸ois Tusques and Brussels Art Quintet). Almost 15 years since Finders Keepers once liberated the Mouches it is now time to set free another Black Beast amongst discerning listeners.

For their next trick, Get Physical treats everyone to a taste of their latest big project, India Gets Physical, with a single from Kone Kone that includes remixes from Reboot and Todh Teri (who will be curating and mixing the bumper forthcoming compilation). Mumbai's Kone Kone has an unconventional DJ style, creating audio-visual productions that are 'a new route to discover old media.' Kone Kone's electronic sounds explore Indian musical practices with a lo-fi finish, including references taken from disco, funky basslines and rolling toms. This superb latest track is a tribute to Indian cinema's '80s dance music. Entitled 'Come Closer,' it is a brilliantly loose and louche house track propped up by elastic bass. A whole world of instrumentation and exotic percussion enrich the groove while female vocal coos and soulful pads bring rich colours to lift the listener. Remixer Todh Teri is behind the acclaimed Deep In India release series and is at theheart of the revival of Indian cinematic sounds, where Bollywood sounds are reworkedfor the modern dance floor. His brilliant version has heavier drums doing big loops and pulling you further in each time as the synths bring cosmic vibes. Last of all, label stalwart Reboot's Muscleflexx Remix is darker and more edgy, with late night dance floors in mind as the pulsing synths and slippery drums gradually unravel. This is a great introduction to the next exciting chapter in Get Physical's country- focused compilation series.

As Metronomy work on their forthcoming sixth album, they take a moment to reflect on the 10th anniversary of their breakthrough album 'Nights Out'. Metronomy's Joseph Mount has delved into the archives for 'Nights Out: 10th Anniversary Edition' which will be released on February 8th on Because Music.

It features the original critically acclaimed album alongside a second LP which expands upon Mount's vision with a set of unreleased demos, rarities and b-sides - many of which make their first appearance on vinyl. Two of the highlights come with alternative versions which have become staples of the Metronomy live set: a bedtime dub version of 'Holiday' which takes it into a darker, glitchier direction, and a French-language version of 'Heartbreaker'.

Mount's Francophile leanings are also explored in Breakbot's remix of 'A Thing For Me', which contrasts French touch vibes with Mount's distinctly English-accented vocals. Previously issued on an exclusive Rough Trade bonus disc, 'Over' is an instrumental of cinematic scale, while the disc closes with four previously unreleased demos including the leftfield minimalism of 'Das Booty'.

Although Metronomy's 2006's debut album 'Pip Paine (Pay The £5000 You Owe)' was discovered by those in the know, it was 'Nights Out' that captured the imagination of a much wider audience. Mount achieved the seemingly impossible: he highlighted both the joyous atmosphere of a big night out and a taste of the resultant comedown in a set that playfully veered towards being a concept album.

About Nights Out Joseph Mount says: 'Oscar reminded me the other day how I said to him on completing Radio Ladio 'I think I've just written my first number 1'. I hadn't. We also reminisced about the day we borrowed the Honda Insight for the album artwork: I found the owner on an enthusiast chat room, we gave his daughter two Kate Nash tickets and a meet and greet with Kate in exchange for a few shots with the vehicle... simpler times. Shout out to Myspace.'

Metronomy's most recent album 'Summer 08' was released in 2016 to widespread critical acclaim. DIY described it as a 'pure-pop odyssey' and NME concluded, 'Mount has done it again. He could write music about the impact of Brexit on the UK's trade with China and make it sound amazing. He's that good.'

Metronomy bring 2018 to a close when they play Edinburgh's Hogmanay Street Party on December 31st. The 65,000 capacity show is headlined by Franz Ferdinand and completed by Free Love.

One year after his debut, the label Hidden Tapes is proud and pleased to present CMBM 'cosmic microwave background radiation' by Dark Division, a 2×12' inch gatefold in stores on 12 November: a techno experimental project that range from ambient dimensions to more dark and industrial techno. The release features 8 new tracks including 2 astonishing remixes.

In this new release Dark Division reaches a more abstract dimension with emerging cosmical and spacial feelings, swirling and deep sounds obtained with dark pads, disruptive deep basses, with ever present echoes and focused distortions: the entire projects sound pleasant and challenging.
It's a small journey, lasting 8 tracks, that envision a unique point of view on the scientific theory about multi-universes. His primary and essential sounds blend with other rhythmic elements. The result are rich dynamics and a unique metric structure. It takes multiple listenings to discover a complex blend of sonic fluxes.

On each record there's a remix: the first one features PRG-M, and the second features Matter. Both artists enhance Dark Division's music making this double vinyl an extremely interesting release...

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

Dais Records Is Proud To Announce The Official Reissue Of "elph Vs Coil - Worship The Glitch". Remastered By Engineer Josh Bonati And Supervised By Coil's Drew Mcdowall, The Vinyl Release Is Pressed Onto Double 12" Lp Vinyl (from The Original 10" Release), And Is Packaged In A Gorgeous 24pt Stock Matte Gatefold Lp With Sticker And Vellum Track Listing Insert. . Also Available On Digipack Cd And Digital.

"unexplainable" May Well Be The Best Explanation For The Members Of The Uk Based Electronic Outfit Coil. Making A Radical Shift From Intentional Accessibility, By Means Of Traditional Pop Songwriting, To Abstract Happenstance, Coil Had Entered Into A New Phase In Their Career...uncharted Waters Utilizing What Was Then The Newest Computer Technology, Digital And Analog Synthesis And The Newly Formed Ideas That Something Outside Of Themselves Was Steering The Ship.

During The Studio Sessions That Developed Into What Would Become 'worship The Glitch'. Coil Became Aware Of Random Compositions Emitting From Their Gear, And Were At Odds With Constant 'accidents' That Were Perpetually Plaguing The Recordings. The Band Called These Unintentional Emissions "elph": A Conceptual Being That Is One Part Physical Equipment, One Part Celestial Being...constantly Playing The Role Of Trickster, Throwing A Wrench Into Coil's Methodology. Eventually, These Accidents And Mistakes Were Embraced By The Band, And The Process Of Misusing Audio Software To Create Intentional "errors" Was Adopted As A Musical Technique. The Acceptance Of The "mistake", And The Use Of Discovered Mistakes As Intentional Elements Slowly Became The Drive And Concept Behind The Album, Thus Birthing The Title 'worship The Glitch'.

Originally Released In 1995 On Coil's In-house Imprint Eskaton, Worship The Glitch Was Coil's First Proper Album-length Attempt At Conceptual Ambient Composition, With A Radical Focus On Chance. Seamless Vignettes Of Shattered Electronics (though Ebbing Softly And In Delicate Balance With Each Other) Provide An Underlying Uncertainty And Discomfort To The Listener.

Dais Records is proud to announce the official reissue of "ELpH vs Coil - Worship the Glitch". Remastered by engineer Josh Bonati and supervised by Coil's Drew McDowall, the vinyl release is pressed onto double 12" LP vinyl (from the original 10" release), and is packaged in a gorgeous 24pt stock matte gatefold LP with sticker and vellum track listing insert. . Also available on digipack CD and Digital.

"Unexplainable" may well be the best explanation for the members of the UK based electronic outfit COIL. Making a radical shift from intentional accessibility, by means of traditional pop songwriting, to abstract happenstance, Coil had entered into a new phase in their career...uncharted waters utilizing what was then the newest computer technology, digital and analog synthesis and the newly formed ideas that something outside of themselves was steering the ship.

During the studio sessions that developed into what would become 'Worship the Glitch'. Coil became aware of random compositions emitting from their gear, and were at odds with constant 'accidents' that were perpetually plaguing the recordings. The band called these unintentional emissions "ELpH": a conceptual being that is one part physical equipment, one part celestial being...constantly playing the role of trickster, throwing a wrench into Coil's methodology. Eventually, these accidents and mistakes were embraced by the band, and the process of misusing audio software to create intentional "errors" was adopted as a musical technique. The acceptance of the "mistake", and the use of discovered mistakes as intentional elements slowly became the drive and concept behind the album, thus birthing the title 'Worship the Glitch'.

Originally released in 1995 on Coil's in-house imprint Eskaton, Worship the Glitch was Coil's first proper album-length attempt at conceptual ambient composition, with a radical focus on chance. Seamless vignettes of shattered electronics (though ebbing softly and in delicate balance with each other) provide an underlying uncertainty and discomfort to the listener.

Dalmata Daniel continue their work with the 7th release in the main flow, and this time they assigned the new experiment to the Teslasonic lab.

In this research, Teslasonic examined the case of 'Quantum Paradox' with the help of another well-known scientist: The Hacker.

The code name of the project is DD007, in which Teslasonic, a citizen of the world, has invented certain new and useful tracks. These tracks are not just sounds, they also create visions, because while we're listening to 'Quantum Paradox' and 'Aether', we feel the energy of the melody, and in our minds, we travel with them through space and time to discover new things. Furthermore, through Blitz Ciphers' and Unified Field Theory's dark and raw electro sound, we find ourselves in the cold and sterile laboratory of the spaceship, where the miracle is born and science is cultivated.

However, thanks to The Hacker, we get a new viewpoint, as in his remix, he re-examines the main theme and at the same time he invents something different - a perfect echo of the original 'Quantum Paradox'.

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

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

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

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

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

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

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

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

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

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

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

Legs 11 was formed when members of various underground bands in Oslo, Norway, met during a karaoke-fuelled haze in the seedy parts of Oslo, and discovered a shared love of synth pop, post-punk, new wave and house music. Drawing on these influences, the band has created a diverse musical universe, ranging from dark repetitive guitar driven tracks, via infectious pop gems, to deep yet melodic dancefloor-orientated grooves.

The 'Another Wave' album is hand-picked tracks from their latest works, focusing on a more dancier approach. The house and nu-dance influences of today are mixed with heavy influences from 90's UK indie-dance acts like The Shamen and the Madchester scene, and hints of new wave from the 80's.

'Intraverso is a journey in that momentary 'inbetween land' that many of us experience sometimes. It explores the turmoil of feelings of when one gets stuck in the middle, floating in between ambition and complete stillness'.

Fabrizio Lapiana is a well-known name on the contemporary Italian techno scene. He has been involved in music since the 90's when he started DJ'ing in his hometown Rome. To date he has over two handfuls of releases on labels such as Figure Jams, Arts and M_Rec Ltd - as well as his own imprint, the well renowned Attic Music, founded in 2008.
Intraverso is Fabrizio's debut album, set for release on his label. The record is a very personal journey, according to the artist himself. You here find him examining different territory than where he usually heads within his productions. The album, which consists of nine songs in total, was composed between April 2016 and February 2017 in his studio in Rome. Written in a state of 'introspect', we here see an artist in motion. Changing. Evolving. The perfect moment to explore something new and unveil a different side of yourself to the world.

The intro 'Early Morning Waves' opens the album with its own quiet dramatic tone, waves hitting the shore as we move into 'Bret'. A cloud-walking kind of melody welcomes you, accompanied by a curious beat driving the journey forward. A deep heavy bassline and almost ancient sounding melody rises in 'Onironauta' (reflecting 'Early Morning Waves' mystical mood) until more playful elements blends in. The contemplative bass elements continue in the title track of the album; 'Intraverso' is a track of mind traveling discovery, yet before drifting too far you are grabbed by a snare, a clap of white noise and a pulsating beat to keep you on track. Further on, 'Lost In Negative Thoughts (reshaped)' reveals itself with its heavy ominous drumbeats and a dark spun web of strings is joined by sounds of distant life and machinery. Then there is 'Distance' which is the album's first flirt with more dancefloor friendly territory. Still under a veil of ill-lit melodies, expertly programmed percussion and claps creates something for a more personal body move experience. Moving into 'Again' sees the expedition continuing journeying through the dancefloor, albeit in a deeper landscape where flickering extraterrestrial sounds watches you go along. In 'Backlit' you find the albums most organic moment, an ambient slow thoughtful walk through the consciousness of the producer - only to end up with the album's final moment; 'Freckles (beatless)'. Here we drift deeper off into slow ambient melodies with a comforting thoughtful bassline taking us to the end of our voyage.

Lapiana has composed an album where you get to travel with him on a sonic journey into the deepest corners of his mind, baring vulnerabilities as well as strengths. Intraverso carries a feeling of ancient atmosphere via its melodic language through its whole running time, perhaps since the foundation of the album is based on emotions and the mind. Thoughts, feelings and mental states that always have been with us, no matter the time and place. It is a mature debut album for an artist that proves he is willing to risk going into different areas than the tried and tested ground. One might say Intraverso is a record created for an introvert introspective dancer, willing to see what lies beyond that of which is visible at first glance.

Rebolledo's YOU AND YOUR HIPPIE FRIENDS imprint grows its groove footprint on international dance floors with the full-length debut of GÜERO, the latest vinyl outing from the Hippie Dance sister label and also its first fully fledged album project. To attentive hippie friends, the artist name should ring a big, funky bell - one that sounds exactly like the cut 'Convertible Ride' from the notorious 'A Very Nice Combinado Volume Uno' 12' release (YAYHF 01).
Back then, our hero was travelling under the somewhat more convoluted 'El Güero Fresa' monicker, but has since dropped some of those conceptual pounds in an effort to reach maximum sleekness. In the same vein, his debut album is a testament to ultimate funk-a-ficiency, digging deep into fizzy arpeggios and chunky basslines - and the occasional guitar cameo, giving tracks such as bubbling synth opener ELEKTRONIQUE, the neon-lit NIGHT CRUISING, bouncing electro disco roller ALTO FINAL or the programmatic SPACE DRIFTER just that little extra riff.
GUITAR MAYHEM, however, is anything but - you'll discover a pretty dank bouncer and certainly not the squealing meltdown one would expect. TECHNO MINIMAL doesn't do what it says on the tin, either, opting for an energetic bass 'n' organ workout instead. By now, you'll begin to understand why the album's called MY WAY MY RULES: GÜERO takes whatever sonic path he desires, no matter what - which is precisely why he chimes so well with YOU AND YOUR HIPPIE FRIENDS's steadily expanding motley crew of rave misfits and studio drop-outs. The way of the hippie is indeed a mysterious one.

We are proud to announce the kick-off of a new Dynamic Reflections subseries: Dynamic Reflection LTD. A series that is set to explore a broad spectrum of electronic music, and aims to cross the barrier between the club floors and home listening. And to start in a proper fashion, we launch the LTD-series with a very special vinyl + full digital album package by Jonas Korbl.

Three years in the making, this anticipated album chronicles the musical, and in many ways, spiritual coming-of-age of Jonas Korbl. Having started producing house music at a very young age, this debut album under his birth name signifies a new direction for the young Dutchman. In these pieces you hear him shaking off the restraints of formulaic working, opting for more experimental paths instead. You could say Discovered 5 is a story about learning about music; An expression of the author's experience in broadening his horizons.

In the full release Korbl presents nine tracks with a sleek and undeniably dark aesthetic, taking you from ambient soundscapes to main room techno and back, touching down in Berlin and London along the way. Downtempo excursions comfortably rub shoulders with rough-and-tumble club destroyers, but as varied and idiosyncratic as the album is, the music feels far from contrived. Instead, the variation keeps you engaged, with the quieter moments acting as a counterweight to the pieces with a more straightforward approach. Somehow he manages to make all these different places and moods uniquely his own.

The most remarkable thing about this LP is Korbl's uncanny ability to take familiar elements and bending them to his will, creating a new context for the listener to experience his personal brand of electronic music in. The adventurous DJ will surely find a track to create that special dance floor moment on the vinyl release, containing four club-ready tracks. However, for the full experience the entire album is a must-listen, connecting the dots between the highlights placed on the physical LP. All in all, this debut bodes very well. With skills and experience beyond his years, Korbl's star is sure to only rise from here.

Nested Structure is the first Great Circles release from artists outside of Philadelphia. THRIVE are Tetsuya Yoshida and Hitoshi Kojima. They both grew up in the North Kanto area of Japan. They first met at the club run by Tetsuya Yoshida called SOUND A BASE NEST, which is known as having the best sound system in the North Kanto area. In 2007, the duo started their DJ / Producing unit THRIVE. Previous releases have included a split 12' with Keia Yano for Japanese label Struct, and recent solo releases by Hitoshi for Always Human Tapes and for his own label Ambivalent Deviation. This record almost didn't happen! --- Tetsuya and Hitoshi were picking up Great Circles records in Japan and, having periodically communicated with each other about music, they sent us the Struct 12' to check out. While
cleaning out the back of the car a few months later, the presumably empty record mailer was about to land in
the recycle bin when we fortunately discovered a demo CD of unreleased THRIVE material inside. We drove
around listening to it and week later we agreed to release a 12'. The music on the Nested Structure 12' is dark, foreboding, even outwardly threatening. It's hypnotic, textural and rhythmically complex.

NickBee, or Nikolai Bogomolov to his friends, has been the staple diet of discerning drum & bass fans the world over for some time now. Having already released a steady stream of deep, dark and disturbingly good tracks, this Ukrainian producer is ready to show just why the likes of Ed Rush & Optical, The Upbeats and Invisible label owners Noisia have been jumping on his sound.

E.D.C wishes to explore electronic music through different universes where spaces, noises and textures are central to the creative process. His researches aim to experiment and think outside the box, allowing us to navigate through purposely-colored music and other worlds where Every Detail Counts.

In this first release, the reverberations in each track create a shaking outcome that warns about the upcoming epic adventure with the wind of indestructibility that the tracks blow in our direction.

Endless is the key to understanding the whole release. Electric from the first second, it explains the journey we are about to embark on. Dark and almost gloomy from the beginning, the break gives the impression of a light breakthrough, as if the way suddenly clears.

The City of Clones takes us to a heavy atmosphere, as if we were waiting in the middle of a fog for the untying of the plot, though the denouement remains uncertain.

When Nobody Cares is an experimental journey through unexplored landscapes, with the discoveries marching under our eyes, which contribute to create an experience of fullness.

Too Many Ifs reminds and completes the cycle. Chaotic on purpose, it unveils the encounter of an intriguing living shape.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Sound does not usually come from a single source. Emotions usually do not come from a single source. The way we perceive is by filtering. Within this complex process there are many difficulties to overcome and many discoveries to make. How long is the club inside of you - after you have been inside of him How do Love, Soup and Beer choices affect your daily life And what do an Island and an Airport have in common By morphing real life situations into musical phantasies Mr. Tophat tries to find answers to these and many other questions. Along the way there is darkness but also fun and hope.

New York's P. Leone is back with the second release on his newly launched E-MISSIONS imprint featuring Work Them Records founder Spencer Parker on remix duties.Born and raised in Brooklyn, where he discovered the legendary Storm Rave parties run by Frankie Bones and Adam X, P. Leone cut his teeth DJing in the Lower East side of Manhattan before making techno himself. Before long the producer dropped his first two releases on Work Them Records, joining a roster spanning Radio Slave, Spencer Parker, Young Male, Anetha and Physical Therapy. E-MISSIONS was then launched in early 2017, acting as a platform for co-founders P. Leone and CAIAZZO with more exciting artists soon to be announced.'Discipline Signals' is dark and robust from start to finish, with 'Functions of Discipline 1' inaugurating the package with resonating kicks, trippy elements and industrial synths. 'Functions of Discipline 2' follows a similar aesthetic but heads into a deeper direction with its cavernous atmospherics and glitch inspired effects, making way for 'Laced' with its sinister drones and tantalising melodies. Spencer Parker then remixes 'Laced', concluding matters with rugged drums, energetic hi-hats and a rumbling low-end.

First & foremost - thank YOU for supporting this album, and for your patience. Special thanks & love to my family, friends - you know who you are. Your love & support means everything - I wouldn't be here without each one of you. Much love & P.E.A.C.E. to my Bruvz - RaSoul & Testament, for blessing our track & always having my back! Huge thanks & love to Relic/Rel McCoy for the hilarious impressions & Skydiving with us! Mad love & respect to Timbuktu for steering the ship & keeping us laughing at all times. Tremendous love & thanks to Evul & the entire Droppin' Science family - a dream come true! Massive love to my UK fam - DJ Rumage & Ruztik Records, for connecting us with Mr. Fantastic & the AE Productions crew - so thankful to be working together! And last, but never least - to my partner in rhyme, Ghettosocks - nothing but eternal gratitude, love & respect for you, your unmatched artistry, & incredibly selfless dedication from day one. Thank you for saying yes.

Valkyrie is a voice for the Warrior. It is dedicated to those who have faced adversity, and been tested in life. For those courageous souls who push through to the end, prevailing against all odds. It is especially for those who feel like giving up. You will make it. You are powerful. Keep going. Surround yourself with the truth-sayers. Educate your minds, hearts and souls. Show love. Give love. Be love. Connect with all of our generations. Be strong. Be brave. Be real. And above all, remember - always stay true to yourself.

Rich La Bonte is a musician, writer and editor from upstate New York born in 1946. At age 11 he figured out how to record a piano backwards with his first tape deck and discovered Monk, Mingus and Art Blakey. In 1965 Rich moved to Ithaca, bought an electric guitar and started singing in garage rock band the huns. After the band dissolved, he moved to NYC and played bass and sang in the original cast production of the musical Godspell. In the late 70s La Bonte moved to Hollywood with Shari Famous, released a a few 7' singles as Dada2, and started fLAtDiSk Records, a vinyl subsidiary of Dave Gibson's Moxie Record Company.

Rich released his debut solo album 'Mayan Canals' in 1981. The seven songs were recorded between 1973 and 1980 while living in New York, Pennsylvania and Hollywood. Influenced by everything from Apple Records to Zappa, the album veers from oozy psychedelia to synthesized breezy folk. Vocally Rich sounds like a cross between Tom Verlaine and Lou Reed. Some tracks feature an EMS Synthi A synthesizer, known to generate the sci-fi sounds from Dr. Who. Other songs utilize feedback from a Maestro Fuzztone box into a TEAC 4-track SimulSync tape recorder. Lyrically La Bonte tackles themes of dying celestial bodies, the birth of his daughter, and a critique of Bowie's character in The Man Who Fell To Earth. Included on this reissue are two bonus tracks originally released on the double A side 7' single Chance Circumstance/Drums Along The Maple Wood, a tribute to Irwin Chusid, the eminent WFMU DJ, with vocals by Shari Famous.

All songs have been remastered from original tapes by George Horn at Fantasy Studios in Berkeley. The jacket features a replica of the original jacket with a Mayan figure screen printed using the original rubber stamps from Rich's archives. Each copy includes a 6-page xeroxed booklet with lyrics, never before seen photos, and liner notes by Rich La Bonte.

In this space between chaos and conformity disorderly moments welcome new phases into existence, leading to the awakening of an elevated version of the self. Between highs and lows, Transitions of Life remain; the concept behind Synthek's first solo full length sound narrative on his Natch Records imprint. Unfolding across a vexing two-year transformation phase, Synthek's crossings along rough roads are the tribulations to reveal this intimate personal journey of reve- lation through emotional downshift, spiritual upheaval and cerebral quandary. In this dominion, Synthek shapes the eleven track escapade along a sophisticated array of synths and warm analog drums, while contrasting the build and decline of atmosphere through deep bass soundscapes.
Pivotal turning points execute the programming of the album's three part sound design; beginning from darkness and repression, evolving to a more colourful aerial majesty of lucid dream state, morphing into the developed nature of life lessons learned; Transitions of Life making its incarnation into the discovery of the self and re-entry into reality.

*Transitions of Life is a 2x12' release made available through Natch Elements, intro- spective extension to the Natch Records imprint. Visual embodiment of the project artfully presented with photographic time capsule by Salar Kheradpejouh of Berlin, Germany with graphic work curated by Jacopo Saveritano, co-founder of Natch Records.

The Micronaut creates the soundtrack for those moments when the screeching of the subway and the steps on the wet pavement have echoed away into the dark city sky. Those moments when the ghosts of fumes and stop lights haunt the empty streets, when behind glowing windows dreams and urban exit strategies get ready for bed. When everybody is close to each other, but everyone is on his own. When the city comes to a standstill, but the wheels inside the heads of its inhabitants keep spinning. Stefan Streck discovers the musical equivalent for this epic atmosphere somewhere between Bass Music, Electronica and Pop. The cinematic soundscapes of his nocturnal City Blues have a somewhat tragic vibe, which is very noticeable both during the impulsive, passionate live shows of The Micronaut and on 'Forms', his third studio album on Acker Records, distributed through Kompakt. Between moments of deep melancholy and sudden eruptions of blissful euphoria he creates a feverish state of tension.

Remember how badly we wanted to join them and be part of those sea-faring adventures: Jack London’s The Sea-Wolf, classic TV shows based on his novel The Road, on Radu Toduran’s novels... back then, a couple decades ago, the titles of these shows alone were enough to trigger some strong gusts in our hearts, salty squalls perfect for imaginary downwind journeys we dreamed of with billowing sails. We wanted to cruise alongside albatrosses, seagulls, and fellow sailors. Floating high above a three-masted vessel, we watched our own adventures unfold far below, an imagined movie scene complete with a whole crew that worked the rigging, and all the rest. Cutting waves. Amidst the storm and stress of sounds hitting our eardrums far out in the ocean. Combined with the sounds of rotors, of tropics crossed, of marimbas and cabin wood pounded, of strange music spotted in the distance. And even though it was merely for an hour or two that we were rescued by that seal-hunting ship “Ghost,” as Jack London had it, plus, even worse, often found ourselves surrounded by villains: it was a great escape, for we’d successfully set sails – to new and exciting places.

Both around their own Weilheim shores and elsewhere, brothers Markus and Micha Acher have launched various musical vessels, bands and free-floating constellations over the past three decades – and yet: amid all these other speedboats and unlikely sonic barges, The Notwist has always remained the mother ship. This new album documents the latest live incarnation of this very band, which also features Andi Haberl, Max Punktezahl, Karl Ivar Refseth, and Cico Beck. Recorded on December 16, 2015 on the second of three consecutive, sold-out nights at UT Connewitz in Leipzig, Germany, "Superheroes, Ghost-Villains & Stuff" indeed feels like a first-hand live experience caught on triple vinyl. That’s why it’s the definitive album of The Notwist’s career.

Although there is one song that points to the early, “louder years” of The Notwist – “One Dark Love Poem” off the album Nook –, the rest of the night’s set sees the band perform all the major hits off Neon Golden, The Devil, You + Me, and Close To The Glass. However, these are different, organically enhanced versions, new interpretations and combinations that feel much more alive; thanks to Olaf Opal’s incredible mix, they sometimes even outshine the original studio recordings. Listening to "Superheroes, Ghost-Villains & Stuff" feels like watching these songs evolve and change, moving from one frame to the next, much like a baroque triptych.

What starts out like ‘wimmelbook’ imagery, the music soon folds and unfolds like a Moebius strip: Sans bottom or top, sans inside or outside, the inside becomes the outside and vice versa. It’s all about sonic interconnection, about music as entanglement, music as reconciliation. The rather majestic, cinematic (indie) pop and experimental, kraut- infused jazz, the spirit of the enlightenment and baroque playfulness, the traces of modernism and minimal music, dub leanings, hip-hop lessons, and even hints of house music: here is where they all come together, reconciled in a sound that’s both melancholy and romantic. And ultimately, the spirit of these songs is set free – and the band has released itself, is free at last.

As for the album title, it’s lifted from the song “Kong,” and encapsulates Markus Acher’s motto. Throughout the track, the water theme first appears as a dangerous threat: a force that’s strong enough to wash away an entire house; and yet the fluid state keeps transforming and eventually releases that sense of threat into something rather hopeful, a new musical beginning, a melodic departure that ultimately leads to euphoria and a renewed spirit of adventure. These are the strong gusts mentioned above, it’s the spirit of discovery, the urge to set sail together. The crew’s back at it, working the instruments, the rigging, with sails a- billow, launching the next voyage of discovery, assuming the East in the West and vice versa. And thus the adventure saga continues.

Pico Be (Das Weiße Pferd)

On November 13th, PNN Records will release the debut album of its most enigmatic artist,
myr. 'Diamondbacks Make Wonderful Pets' is more than just a strange name, it nine tracks represent an exciting evolution in myr.`s trajectory as an artist. Following his debut EP 'Nobody knows Avalon' myr. seems to have dug deep and discovered another level to his sound. Each of the tracks on the record are confidently offbeat and precisely composed.
'A Little-Bitty Bowl (with B.Hotton)', mixes thunder sound-effects with glitchy synth bleeps, layering them above darker tones which build to a perfect storm in the middle. This 10 minute track fails to get boring and is representative of the album as a whole. myr.`s ability to carry off strange hybrids is what makes his music unique. From the ghostly warbles of 'I Think I Hear Them Coming' to the sunnier sounds of 'Eleanor', myr.`s disregard for the norm has lead to an exceptional record that surprises at every turn.

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.

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."

Struments Records opens 2014 presenting ''Fire to the Empire'', third record in 12'' format from this Barcelona label. Following the special dedication referred to the local talent shown by the label in its two previous releases, in this occasion the reference is signed by Clip!, relevant artist in the Spanish electronic scene that, after a versatile and prolific 2013, shows in this publication a new coordinate of their chameleonic sound. Thereby opening the door to more visceral coordinates, opaque and less intense dance that exudes less kindness and infects the club atmosphere with light and dark. The set, consisting of three original songs (Fire, Ash and Bitch), and a remix of ''Ash'' by the British artist Kommune1, discovers on side A two descriptive and powerful snapshots of translucent clubber atmosphere, winding and unfiltered. Proper of the dance hours closer to twilight in the shadows and lights mergers into sensations. While on the B side, the artists pays tribute to the most evasive and escapist concept that music can evoke, forged between the rage of techno and the subtlety of house, when instinct takes control over any convention and presents itself as a purely physical experience between the listener and the sound. Closing the total minutes of the reference, Kommune1 prints cosmic and expansive notes to ''Ash'', as well as he brightens the original version. ''Fire'', the central tune that starts and gives name to this third reference of Struments Records responds to six minutes that shapes a direct and powerful presentation letter. In which you can acknowledge progressive melodic phases and raw vocals that serve as a growing force of initial contact. ''Ash'' continues the incursion between hard and chiaroscuro dynamic, printing analog rhythm coordinations. ''Bitch'' represents the exact balance and highlight of ''Fire Your Empire'' EP, sobriety in enviromental nuances, vocal flare and power high-flying shape a depth completely orientated to the dance floor that condenses much intention in a speech coherently aligned with the sound. Kommune1 sets ''Ash'' with an eye towards fantasy and space, using resources in the original maximalist melodies and rhythmic accelerating phases provide the remix to get faster.


DJ Support:

Alizzz (Mad Decent)
The EP is so well balanced. Loving that analog feeling. 'Fire' makes me
dream, I get in trance with the bass and those pads on 'Ash' and I want
to listen to 'Bitch' really loud in the Berghain. Much support.
Jorge Caiado (Balance/Groovement)
"Excellent and fresh EP!! All tracks are powerful and effective, can't
wait to play them. My favorite is "Bitch" but Kommune1 also did a good
alternative mix to "Ash". Keep them coming Struments!
Kresy (Hivern Discs)
"Great EP. Bitch is my favourite"
Broke One (RBMA/Magic Wire Recordings)
"Aweome EP"

clear vinyl pressing!
Soundtravels Recordings proudly presents "Point Of View Part 1". We have compiled six contemporary, electronic bombs from artists all around Europe.

For some we didn't have to travel that far though...

The Hagues Baz Reznik provided us with "Nightdrive To Stuttgart", a moody, sinister track with that typical raw Reznik sound and a melody that will stick in your head for days after you first heard it.

Amsterdam based Arctic Boogie boss Endfest came up with another killer, "Von Heijden En Verre". Almost ten minutes filled with frosty synths and arctic melodies, accompanied by an ever present, very sophisticated 303 which peaks halfway the track, shivers!

Our last, but not least, Dutch contributor is Rotterdam based Louis Guilliaume who you might know from several straight forward techno releases on various quality underground labels. "Promiscues" is a rough edged, energetic track which fits somewhere between Detroit techno and Dutch Westcoast elektronica. At the end of 2013 he will release the "Unknown Forces EP" on Soundtravels.

Okay, now we fly all the way over to Croatia for Le Chocolate Noir with "Futu.e Is B.ight". A short but powerful EBM track with vocals from the man himself. Dark industrial mechanics accompanied by a threathening bassline, but no need to worry... cause Futu.e is B.ight! In 2014 he will release his first EP on Soundtravels.

Next stop... Düsseldorf. After discovering Dircsen's tracks we definitely had to have him on board. The first result of that can be heard on his astonishing "Aspiration EP" (Soundtravels 003). This guy keeps on producing his solid, high quality electronics and shows us his love for the TB 303 machine in a brilliant way. "Exist" is actually a downtempo dubtechno track but off course it has a fierce 303 all over it. Timeless again. Early 2014 his second EP named "Acid Wheel EP" will be a fact.

New to our family is the Russian Neotnas. He makes his first appearance with "Rewind". Typical for his sound is that warm, organic feel all over his house and dubtechno productions. Very often accompanied by female vocals and it's almost like you hear somebody play a live instrument if you listen carefully. At the end of 2013 he will release his "Slow & Steady EP".

As summer falls away, Aconito Records rises again with more experimental sound designs and deep atmospheres on this new limited-edition record, Gaia's Archetype. Featured here are two productions by Hironori Takahashi of Japan, as well as an edit from label owner Nax_Acid. Inspired by the emotions he discovered at Japan's 'Metamorphose' open-air festival, Hironori wished to express feelings of contrasting unity - light and dark, human and nature - in his music.