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Cornhusker unearths four obscure DJ-only specials. 'Easily' reveals the carnivalesque groove of a less well-known jazz-funk track. 'Mizells' weaves together all of the highlights of a mid-70s classic.

'Launchpad' is storming Hammond-led dance floor fire and 'Bring It' links a classic Rza loop to it's original source.

Upcoming french producer Matthieu Faubourg, who has worked extensively with guys like DJ Boring and Black Loops, is firing up

this heavy 12" on "Smile for a while." Stripped down House bangers all the way - from more laid-back, synth-oriended stuff over to some 90s-tingled House groover, ending up with a frantic 6 a.m. anthem on the B-side this EP is all you need to keep your floor dancing till the end of the year...

Out from electronic live improvisations , the first Ep of Destino starts with a
Clusterish ambient track (Orion)...
So DJ friendly , 911's siren and bleeps redefines the archetypical disco flavor of a
101 floor filler track .
Ceremony and it's balearic feeling will strongly warm up your electronic summer
nights.
Finally Loopo up delivers a dark electronic disco groove for cosmic dancers.

-Previous releases or remixes for Partyfine, Colette, Dfa, kill the dj, Tigersushi, Ed banger

The fourth instalment of Moxie's compilation series is back, presenting this exclusive 4 track vinyl sampler thoughtfully curated line-up of artists. Featuring friends of On Loop, up-and-coming producers and prominent names alike. Stepping up to open this 12' sampler is The Maghreban, adding his trademark touch to an off-kilter remix of Steve Spacek's 'Gimmi Da Love'. Lisbon's Violet is up next, laying down her energetic signature breakbeat sound on 'Antifa Beats'. Flipping over, the B-side begins with Nathan Micay's infectious builder 'Basic Plumbing', paving the way for Louise Chen's 'Reach (Raw Mix) a solid house number. On Loop has continued on a straight upward trajectory since it began, with 2017's Volume 3 securing a nomination in DJ Mag's end of year awards for Best Compilation, and the imprint earning a place in Mixmag's 20 Best Record Labels of 2017. As the label steps things up, so does Moxie's NTS radio show, now moving to a weekly slot and cementing its place as a staple dance show for the station with regular parties at Manchester's Soup Kitchen, Edinburgh's Sneaky Pete's and London's Pickle Factory. With an international tour to be announced this year, things are just getting started for the DJ & Radio host.

A A1 | Steve Spacek - Gimmi Da Love (The Maghreban Remix)

On her debut EP, Brussels-based multi-instrumentalist Esinam gives us an entrancing insight into her eclectic world of jazztronica.

Released 21st September via Sdban Ultra, her self-titled EP carries influences from different worlds geographically, culturally and musically. Blending traditional and modern instruments with her soulful voice, the acoustic sounds of the instruments are allowed to evolve and take on new dimensions, opening up a kaleidoscopic spectrum of sound and colour.

Esinam Dogbatse is part of a new generation of musicians bringing forth a cultural blend of music. Having opened for the likes of Nakhane and Témé Tan at Les Nuits earlier this year, Belgian rapper Baloji invited her to guest on his latest critically acclaimed album '137 Avenue Kaniama'. She has also supported Alsarah & The Nubatones, Selah Sue and Melanie De Biasio on her sold-out shows at Ancienne Belgique.

For the recording of the EP, Esinam joined forces with Jules Fradet from Studio Planet (Damso, Afrikan Prötökol). Producing and playing most of the instruments herself, the EP was mastered by LA-based producer Kelly Hibbert aka Almachrome (J Dilla, Madlib, Little Dragon, Flying Lotus, Ebo Taylor, Mark de Clive-Lowe and Arca).

Lead track 'Birds Fly Under a Heavy Sky' is a mesmerising opener that smoulders effortlessly against a backdrop of subtle beats and sensual rhythms, with Esinam's soft vocals and hypnotic flute providing the groove.

On 'Do Not Go Into That Black Night', she is dark and direct. It's a magnetic take on jazz noire that doesn't distract from the sultry inflections of her voice, while 'Gavoé' recalls the spirit of her Ghanaian roots in a ballet of instruments that display a level of personal freedom and sensitivity. Through merging different genres of music, we are warmly welcomed into Esinam's musical universe.

Esinam teamed up with Senegalese DJ and producer Ibaaku on the highly charged 'Electric Lady', who provided some distinctive musical hues. A track drenched in afro-futurist colours, sonic samples and collages freely mix with electric and raw sounds, supporting the energetic playing of the flute. The structure of the song remains true to Esinam's signature sounds: surprising ruptures, poetic atmospheres and constant affirmation of groove.

When Esinam performs live, she juggles traditional instruments such as the tama, kalimba and pandeiro, which she loops and blends with the sound of her flute and voice. It sometimes triggers dance, sometimes contemplation

Opening track 'In The B' kicks off proceedings in no uncertain fashion. It's 100% wall shaker material, the type of techno music best paired with strobe lights and towering speaker stacks. It mesmerises with its low-slung undulating bassline and Detroit rhythms before giving way to some riotous old school Essex stabs and sharp claps. No messing, this is a certified 3 AM red light burner! Track 2 'Chocolate Biscuit' accelerates proceedings! Beginning with unfussy drums and a robotic, bleep-heavy melody driving it off into a wonderfully off-kilter direction. Its arpreggio'd rhythms may be brutish and wrestle a growling sense of menace out of the track, but the overall feel, however, suggests considerable care and attention has been paid to make it sound this way. There's clearly an uncommon musicality at play here to make something this complex feel so simple.
The BPM drops next on 'Jenny's Hall' but from the offset, there's enough funk and thrust in the motorised synth line to get bodies gently grooving without the beauty getting lost in the slower loop. This is blissed out, psychotropic techno - the kind of track where it feels like you're floating and falling at the same time, but all the while making sure you still remain fit for purpose on the dancefloor. Ian Blevins takes on remix duties this time and the Berlin-based DJ/producer offers up a sleek peak-time banger that fizzes, bubbles and percolates. He gives the rhythm on 'Jenny's Hall' less space to swing and ties it to a tight motorik beat turning it into a slice of shiny, modern techno but with extra shoulder-checking force. Its vibe drawing from a sense of outsider-party fun with a wry smile, and a knowing wink running throughout before bringing the package to a suitably left of field crescendo.

A warm human hand sculpts the icy machine-like sounds into a meticulous harmony over undulating bass and entrancing snares, clasps and industrial heartbeats. This continuous circulation of sound and its ever beating rumbling-flexed sub bass found in Rebecca Goldberg's newest batch of acid-techno arrangements effectively replicate the natural functions of omega 3, or -3, fatty acids albeit in musical-form. Whereas ingesting the special carboxylic acids found in plant and marine oils woll fortify your vascular system into a well-oiled machine, Goldberg is using a table of various analog machines to manifest a similar, yet uniquely propulsive flow of energy through a composite of frenetic hi-hats and trudling kick drums, looping under spacey Rolands waving out reverb splashed frequencies coiling synthetic intonations.

The beats reach the feet, the bass unlocks the hips and the synths pull and twist the shoulders, staving off stagnation or decimating a collective clotting - we are loosened in restorative ways to the sleek assemblages of one of Detroit's leading DJs/composers on the electronic music scene. Goldberg's 25-minute odyssey is unceasing in its sinuous stream of mesmeric techno music, as if powered on by relentless agents found in the healthful acids for which this EP gets its title.

Goldberg has distinguished herself by cultivating the seeds of techno into something that designedly meditates on the enduring vitality of the organic and the holistic in our lives--even as our socialization, and maybe even our dance floors, are predominantly digital in character and operation. -3 continues to stimulate our brains in two ways, just like 2017's 313 Acid Queen. Her previous record used field recordings and found sounds from the shores of Detroit's Belle Isle and other neighborhood sidestreets to thread the simple majesty of the flora and fauna that sustains even if at the corners of a concrete metropolis. -3 is bringing you from the outdoors into the inner workings of your body--particularly the blood cells that act as fuel for your limbs, your lungs and your brain. It's the -3 fatty acids that keep your system strong and smooth. It's Rebecca Goldberg's latest acid techno fever dream that keeps you perceiving that (and other things) even as you dance...

While notorious in the Chicago streets, RP Boo's music had been unfairly confined to a few white labels and self-released mixtapes until his two archival Planet Mu LPs Legacy and Fingers, Bank Pads & Shoe Prints introduced broader audiences to his sonic history, some of it fifteen years after it was first recorded. I'll Tell You What! is the next step in his mission, and the first time he's released an album of contemporary material. The title, a favorite maxim of his, welcomes listeners to sit down and let him narrate in the unforgettable abstract fashion he's known for. He explores familiar motifs such as the cosmos, movement, and opposition, using densely interwoven vocals, unpredictable percussion, and evil humming bass as his tools of choice. RP Boo's music doesn't follow the traditional rules that most compositions do. Layering decades of samples from yesteryear to the present over his commanding vocal cut-ups, he transports the listener to their own realm of the space-time continuum. The main difference between this record and his prior work is now we hear Boo tell new stories about preaching his gospel outside of Chicago, from his experiences frantically touring the globe over the last five years. The words 'things ain't been the same / since I hopped the plane' are repeated on top of engine sounds and rumbling bass on Flight 1235, a glorious paean to his new jet-setting adventures. The spirit of competition runs through RP's veins as much as blood does, something you can't unlearn when you've been making music for Chicago's footwork circuit as long as he has. The local culture has served as a shelter from the violence that has plagued the city, pitting kids against each other with their feet rather than weapons. On At War Boo reminds us 'we are at war in the streets', a double meaning to both the mayhem in this world and the sweetness of rivalry on the dance floor. Another battle-themed track Cloudy Back Yard, one of the spacier moments on this album, is an abstract on the state of footwork's home. Chicago remains the backyard of this artform even though it's left the porch and traveled to new neighborhoods worldwide. Back at home though, competition among the DJs and dancers continues, and as the man himself says, 'with all this hate, there's smoke, and it's cloudy'. I'll Tell You What! throws more than a few curveballs into the mix. Footwork has always borrowed from hip-hop, and many vocal tracks are almost condensed raps, dating back to the street chants pioneered on Dance Mania Records in the ghetto house days. On Bounty, Boo grabs the mic and brazenly lays down a full-on verse of terror over a thick atmosphere of his signature sweltering low-end and erratic Roland R-70 patterns. While he's most famous for his confrontational battle anthems, his melancholy moments are just as powerful. You get the best of both of those worlds on U-Don't No, with soulful samples finishing his own cocky sentences, one of the most elegant tracks RP has made to date. Deep Sole closes the record out, with the words 'It's always beautiful at the end' looping over waves of hypnotic synthesis, confidently looking death straight in the eyes.

Three years after presenting an original idea of arranging his own music live by using a standard DJ setup and a drum machine, Strahil Velchev alias KiNK is ready to premiere the very first EP-outing of his new project entitled kirilik.

Created with obscure studio equipment and backed by an array of sonics out of his extensive line-up of machinery, Kirilik successfully transfers to the record that unique level of levity and immediacy that his live act has already become renowned for.

Loopy and thus infinite in nature, sometimes seemingly spiraling themselves out of control even, these tracks are as versatile as they are just fun to play around with! Fittingly enough, Infinity Is Not A Number comes complete with an added bonus of four additional endless loops, edged into the final grooves of each side...

After bursting onto the scene in late 2017, Hyperloop makes his Drumcode debut with Green Velvet in toe.His 'Mentalizm' EP is a classy example of his versatility, a trio of original works, accompanied by two DJ tools. Beginning on a menacing tip, 'In Your Mind (Reflections)' is a low-end brew of industrial stabs, eerie melodies and subterranean vocals.
'S-Sound' is his collaboration with Chicago legend Green Velvet and is a percussive masterstroke of loops and drum riffs which drive the eight-minute track with all the puffing ferocity of a steam train. 'Spring on the Battlefield' is the perfect contrasting accompaniment, as a warm rush of strings covers a bed of intricate analogue effects and stomping kicks.

They don't get much more anthemic than Idris Muhammad's 'Could Heaven Ever Be Like This' and who better to rework it than edit royalty, Late Nite Tuff Guy. Subtle in his touches yet incorporating a more DJ friendly, dancefloor orientated beat and tension building intro which teases elements of this classic, before that instantly recognisable bass riff and staccato guitar chords come into play.That subtlety is key when it comes to handling a record as epic as this, elements are accentuated and looped, delicate effects are woven in, but the soul and feeling of Idris' music is lovingly maintained by LNTG.
And for the purists out there, the flip houses the original mix so you've got two paths to heaven to choose from.

A man of many alias, the multi-faceted talent behind Juxta Position finally finds his way to Figure, leaving us an EP's worth of highly infectious, acid-festered analogue techno runs. Feeding on the raw and dynamic energy of live hardware production, these jams hit the sweet spot where constant modulation and spontaneous changes transform a bunch of loops into something much more than the sum of its parts. Whether it's a bouncy ride around the rings of Saturn with Elixir, the frantic sledge hammer-assault of Stepping, cascading down into the machine's bowels on Automated Reproduction, or the non-stop, all-out overdrive that is Pestered - every track on this record takes on a whole life of its own, making for some seriously potent DJ-weapons!

Over the course of four unforgettable EPs released on Throne of Blood since 2013, Hardway Brother Sean Johnston has cultivated a broad international following for his singular brand of dancefloor fodder.

Best known as one half of legendary DJ team A Love From Outer Space alongside the one-and-only Andrew Weatherall, Johnston's roots in the dance music scene include a clutch of leftfield 90's era bangers on labels like Sabres of Paradise and Flashcomm. Beyond his original output, Johnston has also remixed the likes of Man Power, The Asphodells, Museum Of Love, Split Secs, Clandestino and many more.

The Laser EP is peaktime Hardway Bros business. 'Friedman Feedback Loop Revision' (a nod to TOB boss James Friedman's highly-valued opinions) is a masterclass in efficient simplicity, elevating a few basic loops into an exhilarating 8 minute monster. 'The Laser' rounds out the a- side with a classic electro rhythm/bass/vocal sample combo could easily have landed in retro territory. Instead, Hardway Bros easily flips a clutch of oldschool tricks into an utterly modern execution. The b-side finds TOB's label manager Max Pask injecting 'Friedman Feedback Loop Revision' with his love for all things analog and Italo. With his impressive collection of synths brought to life by Chinatown Records' Brennan Green, the song is transformed into an epic set- closer that's already devasting dancefloors like Berlin's Panorama Bar. The EP closes with 'Afro Sirene,' a midtempo groover with melodic arpeggios built for the discerning DJ's warm-up set.

Glyn Bigga Bush has been producing electronic and sample-based music since the early 90s when he formed Rockers Hi Fi, going on to release numerous albums. Since the turn of the century he has produced and DJ'd as BiggaBush as well as various side projects such as Lightning Head (Sonar Kollektiv), the Dandelion Set (Buried Treasure) and the Magic Drum Orchestral (Tru Thoughts).

Bigga's latest project 'Sunken Foal Stories' represents a departure from much of his other work in that it is not primarily based on beats. Instead, his working method was to go with fascinating samples, accidental juxtapositions and irregular loops - inspired by pioneers of sound such as Faust and the audio experiments of Julian House as well as early stereo test records, soundtracks and library music.

The 21 concise tracks of Sunken Foal Stories link into two 15 minute segments on the LP. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing. Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and carboot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and 'glamorous' soundtracks.

Floppy disc versions of the infamous TTW005 - floppy and proper bendy!

Comes as a pair of dope floppiness!

Weighing in at minimal gms.

Please note: The way floppy discs are manufactured, the center hole for the spindle is usually quite tight. You may need to adjust the hole to suit.

Led by Saxophonist Rob Mitchell, Abstract Orchestra have been a consistent presence on the u.k. music scene, touring constantly in the promotion of their debut LP "Dilla" and steadily building a loyal and supportive fanbase.Inspired by the legendary live performances of The Roots with Jay-Z and the 40 piece orchestral arrangements by Miguel-Atwood Ferguson of the work of J Dilla, classic arranging techniques underpin modern loop-based structures, breathing new life into familiar material.The band itself is based on the classic jazz big band instrumentation of saxes, trumpets, and trombones and features the cream of the north of England's jazz scene, who collectively have played with Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & the Roots, Roots Manuva and Amy Winehouse.

"New Day" is the eagerly anticipated new single and features rapper and J Dilla's brother Illa J on vocals. Supported by a U.K. tour with Illa J throughout February, "New Day" takes the blueprint laid out on last years LP "Dilla" and expands it with Illa J's understated vocal delivery. Radio support anticipated from BBC6's Gilles Peterson who has been an advocate for Abstract Orchestra on both his BBC6 and Worldwide FM shows, as well as Huey Morgan (BBC6), Shawn Lee (Soho) and Dom Servini (Wah Wah 45s). "New day" is the first original work by Abstract Orchestra and builds on the foundations laid on their debut. Flutes and electric piano lay out a gentle pad, propelled forward by Joost Hendrickx's insistent drums. Occasional fragments of saxophones add an urgency to the insouciant groove laid out by the rhythm section as soft trumpets and trombones are gradually added to the flutes. This provides the perfect foil to Illa J's laid-back vocal delivery as he describes a typically relaxed Tuesday morning spent contemplating the day ahead. The B-side is the AO remix which takes the instrumental performances of the A-Side, chopping and fragmenting them and re-framing the original with a slightly harder edge, which should be popular with those DJs and listeners looking for something with a tougher sound.

Meandyou return with the ninth instalment of the collective's record label, this time presenting Manchester cult techno artist J.S. Zeiter. Zeither resurrects his Analog 1 alias for his second outing on the label, after 2012s mini album on the collective's first edition of the TAPE series - the cassette featured original material split per side between Zeiter and Meandyou's Herron. In the late 1990s, J.S. Zeiter reached cult status by releasing a string of dub-infused techno EPs under his SJ moniker, each becoming sought after amongst collectors and DJs. Styrax Leaves recently reissued a number of his classic tracks, including new edits of the previously released tracks. He has released music on his own MCMLXV and JS imprints, as well as Pleasure Music and Phorma. 'Restoration EP' features 3 new productions that float between slow-mo techno and electro, plus the previously CD only track 'Interude 3' that appeared on the acclaimed 'Decade' album.

Khalab has arrived OntheCorner with 'Zaire'.
'Zaire' is the beginning of a new narrative for the artist. In this first chapter Khalab creates urgent compositions with layers of sound from the past, present and future. 'Zaire' is underpinned by an intensely pounding heart of other-worldly percussion. The collaged loops frenetically jab in syncopation breaking off when the inherent swing casts its discrete groove to summon the dance. Unrelenting waves of synthlines, basslines and rhythm find harmony amongst the melodic chants and distortion.
Already making Gilles Peterson's 'All Winners' list on BBC 6 Music'Zaire' is a breathtaking nucleus for airwaves, dancefloors and, any digital devices masquerading as abeatbox. The tracks 'Aeh' and 'Night in the Jungle' are the vessel from which the heat of 'Zaire' steams. DJ Khalab has departed and with 'Zaire' Khalab has arrived On the Corner.
The two remixes on this EP offer magnified oppositions to the friction that Khalab seamlessly stiches into his tapestries of sound. The bass frequencies that Medlarbounces across his electro dirge, taking day into night, contrasts with the harmony and light of Will LV's journeying remix that drives through the troposphere.
'Zaire' is a prelude of the forthcoming 'Black Noise 2084' and the freeing of a narrative shackled in chains for centuries. Phrases of historic recordings collaged with future electronics and the analogue depth and artistic voices of the present makes this a ground breaking work of future music. The archive recordings bare a stark reminder of the need to face the barbaric recesses of modern human history. The many voices of Khalab's 'Black Noise 2084' are coming to be heard.

The second release on Oktave Records is produced by Tokyo's Iori. The multi-talented Japanese producer and DJ has had his music released on some of the best labels in the business, including Prologue, Field Records, and Semantica. Iori's inimitable and distinctive sound has put his productions on turntables and headsets all over the world, while the man himself continues to extend his touring radius, hitting clubs and venues all over Europe and into the Americas. Oktave Records is proud to present his 'Circulate' EP.

The A side gives us 'Satellite,' a relentless floor-focused track, bursting with Iori's signature, looping sound he draws us into a hypnotic void and allows the listener to get completely lost in the polyrhythms so deftly layered on top of each other. 'Satellite' will mesmerize your dance floor.

The B side opens with 'Vortex,' which gives us more of that special Iori hypnosis, but this time we're carried along by a broken beat. Complex, understated and rhythmic, 'Vortex' is another stunner. The EP closes with 'Inversion,' an ambient track, which is an area of strength for Iori. He has long been producing compelling, cinematic soundscapes with his unique sound signature, and 'Inversion' continues in this tradition.

Iori has created a knock-out EP with 'Circulate,' and sets the bar quite high for the label.

Excise is thrilled to host San Francisco underground xture Max Gardner on the label's 3rd vinyl release. Max runs the legendary Californian party crew Direct to Earth and he's equally a hypnotic DJ selector and highly skilled synthesist. As you'll see on this release Max's tracks are not only excellent DJ tools but also deeply interesting for close-listening: truly unique electronic music dif culty to pigeonhole into a genre. 'Mona Loops' is an immersive experience on club speakers as an eerie high-pitched synth line twists in unexpected ways over powerful waves of bass.

Next Max remixes label co-owner Muon's track 'KMC' redefining its raw elements into a blitzing four and half minute romp held together by a jagged low-mid frequency lead line. 'Broken Pinkies' is hard to de ne. All we can say is it embodies the feeling of the San Francisco all night underground world more than any single song in recent memory. It begs for repeat listening. Yan Cook joins the Excise family for a banging remix of 'Broken Pinkies'almost shocking in its spin off the original. We're huge fans of Yan over here and this track embodies what we love most about his productions - groovy but with serious bite

The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.

LP incl CD
Garden of Love' one of the first single tracks feat Peter Hook (New Order) On the cover of their new album Malamore, their first album for Because Music, Lionel and Marie Limiñanas are back in black, and looking ineffably cool, standing next to a classic silver Fifties trailer, shot at a beach festival in the French town of Paulilles by the Spanish border, just 30 minutes drive from the duo's home town of Perpignan. They'd been playing a DJ set, only with 45 rpm vinyl - Sixties punk, Italian pop, movie soundtracks and Seventies rock tracks,' they recall. The picture syncs well to the colour of Malamore, like the artwork of a movie soundtrack. The lettering on the cover is significant too.

IMA (Intense Molecular Activity) is the duo of Don Hunerberg (synthesizers) and Andy Blinx (drums and percussion). Based in New York City and active between 1979 and 1982. Don, a studio Sound / music engineer and musician, Andy an electronic clothing designer, drummer and sound reinforcement engineer at downtown clubs like Max's Kansas City, Mudd Club and CBGB. In between doing sessions at Radio City Music Hall Studios for groups such as Ramones, Richard Hell, Sonic Youth, Liquid Liquid, John Zorn, Glenn Branca and many others, IMA took advantage of off hours to create their own music. As far as influences go, Don's background was in electronic music and Andy's in prog rock. To produce the songs, Don used his own method of creating patterns from 2-track tape loops and then edited them together on to a 24-track recorder adding more tracks of overdubs, In a very similar way that sequencers are used today. By 1980 the duo honed their own unique sound and version of Post Punk and No-Wave with the tools of the trade of the early 80s. Situated above the proscenium of the Radio City Music Hall stage, the studio was outfitted with a variety of orchestral instruments (timpani, bells, xylophone, etc). They self-released a 4-song EP titled 'IMA' on an 8' flexi-disc which was distributed by Ed Bahlman of 99 Records. The music bridges the wild psychedelic-rock of the 60s, the synth-punk of the late-70s and the elaborate constructions of progressive-rock. There are nods to the freak-outs of Chrome and the super neurosis of Suicide, but IMA takes a more clinical approach which also takes notice of Hawkwind and Pink Floyd's interstellar overdrive. We've added 4 bonus tracks recorded during the same studio sessions and included them here for the first time on vinyl. DJ Hell lifted elements of IMA's song "Blurb" virtually intact and uncredited for his electroclash club hit "Keep On Waiting" 20 years later. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original jacket featuring a spray painted IMA tag a top a red dashed 'Do Not Enter' sign. Each copy includes a double-sided postcard with notes. This Album Is dedicated to the memory of Andy (Blinx) George.

Absolutely stellar proto-disco jam from 1975 on the minute Shield label, Nassau County's Hokis Pokis may not be the most well known of funk / soul outfits but that doesn't mean they groove any less than any of the big guns!

'Nowhere' is a true underground classic, one for the real disco aficionados. One of those grooves that straddles the thin lines between rock, soul and funk. This is a proper club record and in the right hands will keep a dancefloor locked in and moving.
Speaking of 'right hands' this special 12" reissue sees NYC DJ and edit royalty Danny Krivit tastefully extend the original 3.32 7" A-side version into an extended club jam. Never one to utilise tired filters, loops, sweeps and so called laptop 'production methods' Danny turns in a fine extension that is subtle, effective and most of all - funky. A truly glorious slice of uplifting dance music 'Nowhere' is an essential purchase for those of you who dig the real deep stuff.
This reissue is a legit, licensed and proper release. Made by Above Board distribution in conjunction with Henry Stone music and the skills of the legendary Danny Krivit. 2018.

A tasty 7" coming from two talents from up North, Toronto's freewheeling producer/DJ Birthday Boy and Canadian songstress Trish (plus songwriter and backup vocalist Joe Law) who link up for a lesson in positive vibrations and soulful, R&B-infused future grooves. "Magic" toys with a mellow bassline and warm guitar loop from Tom Misch while "Chance To Go Far" is a Kaytra-esque hip-hop number with big drums and hook that will stay with you all day.

4 pumped up jams for djs to take control - don't hold back, just let go and feel the n·r·gee. Early support by Eduardo De La Calle, Jennifer Cardini, Andrew Claristidge, Gilb'r, Daniel Kyo, Photonz, Angel Molina... Points of interests - Only for the headstrong tripping on strictly undeground massive hits. - For fans of techno, warehouse, (old school) breaks and bleeps. - Pure reel-2-real analog recording and extra loud mastering by F.Stader at MMM. - Features 6 eternal loops and bonus samples for extended dj pleasure. - 121th release from renowned Swiss Mental Groove Records est. 1989 (Dj Rush, Eduardo De La Calle, Sun Araw, Miss Kittin, Luciano, Brodinski, Donato Dozzy,...), also home of Musique Pour La Danse (Olivier Abbeloos, Frankie Bones, Orlando Voorn, Nate Krafft, Dirk De Saever, Todd Sines...) and We Release Whatever The Fuck We Want (Midori Takada, Michel Legrand, Kenji Kawai, John Carpenter...).

DOMINA TRXXX welcomes Trippin aka DJ Octopus to the Family!
Marco Zanin delivers constantly quality music on labels like CHIWAX,
Hot Haus Records, Hardmoon or Shall Not Fade. Now it's time for the "Dolomiti EP".
4 club tools without compromise

Some songs comes along that you seem to know the moment you hear it, even though it's for the first time. In the case of Spark The Universe it had exactly that impact. A mixture of late-60s psychedelic homage, early 80s new wave, white boy soul, plus a good dose of dub, all wrapped around a killer hook and super tight production and a hit was surely made.
The fact there are many deserving records that don't become a hit doesn't mean some are better than others and in fact, the joy in collecting and reissuing is finding amazing songs and bringing them back.
Increasingly heard in the sets of the more discerning DJs, Spark The Universe has become a cult play and with second hand prices now in three figures, a reissue is timely. As the label oft says, no one owns this music other than the writers, musicians and producers and their craft deserves to be appreciated.
Before going on to carve a successful career in 'electronica' project, Euphoria, Toronto's Ken Ramm had shown his considerable writing and playing ability with the 1981 debut LP Dragon and this 1983 follow up, known simply as Ramm.

Coming together through a meeting with a then relatively unknown producer, Daniel Lanois, via a mutual interest in tape loops and dubbing, it was the suggestion to bring in local vocalist Lorraine Segato that Ramm formed.
Recording at Lanois' Grant Avenue Studios, his interest in mixing past and present technology, with multiple digital delay units, harmonizers and other effect processors allowed Ramm and Lanois to explore using the studio as an instrument alongside real musicianship.

Backwards guitars, tremolo bar dives and guitar harmonics are incorporated with the vocals and percussion to perfection. With a 'Dance' and alternative 'Dub', the song's hypnotic and dreamy feel superimposed over beats pin-pointed to the later Euphoria project and with the addition of a latter day 'Discomix', from the labels' own Chuggy, Spark The Universe deserves it's place on contemporary dancefloors.

On this new EP, DJJ's trademark jagged take on filtered French house is still present, but with Chicago bump, techno and more random elements thrown in for good measure.I Keep Trying To Convince Myself is the tougher, more rugged and even funkier cousin to DJJ's hotly-hyped 2016 summer anthem just a lil. Chi house meets soca in this carnivalesque new classic, which hits the perfect spot between sweetness and dirt.Yn Y Ty is fast, jerky funk and almost a new genre in itself. Both melancholy and pumping, think DJ Rush meets the Tetris theme in an oddball, groovy-as-hell work of genius.The cut-up, loopy loops and tough, tribal beats on Apilli are deranged in a good way and - as with the rest of the EP - demonstrate a quirkiness and subtle humour akin to Basement Jaxx's early golden period.A big sample drives the jacking, sweaty, glitz of Upsqwar's warped take on handbag, which channels the spirit of Modjo and features a ponderous, almost chiptune melody drifting subtly over the top.The EP closes with the Greek flavoured stomper Glas, which wouldn't sound out of place on Richie Hawtin's 1999 mix album Decks, EFX & 909. This new EP is first release since jus a lil for Crazylegs, which gained high praise from NPR, Resident Advisor, Indie Shuffle, Mixmag, Dummy, Hyponik and FACT - who commissioned a video and coined the tongue-in-cheek genre name 'outsider Ibiza'. Comparisons have been made to Thomas Bangalter, Alan Braxe, Todd Edwards and David Morales - albeit a skewed reinterpretation. Like the punks' assimilation of rock and roll, DJJ's fresh and irreverent take on highlights from dance music history make for some of the most exciting sounds since Daft Punk's first forays.Although distorted and with lowered bit-rates, to call theses tracks 'low fi' is to do them a disservice, as DJJ's manipulation of frequencies, distortion and samples is deceptively simple yet not easily matched. There's a mastery of sonics and leftfield sensibility at play, akin to fellow EQ tweakers Heiroglyphic Being, Aphex Twin and Adrian Sherwood.DJJ is a member of the Bristol-based label/collective Crazylegs, alongside artists including Gage, Sudanim, Finn (all of whom remixed just a lil). He's also one half of ISLAND, whose grime-flavoured Nokia EP was release in 2015 - also on Crazylegs.

Osaka, not being Japan's capital city, has a history of producing some unique underground movements and artists. Without the attention or the funds Tokyo artists may have access to, Osakan artists over the years have had to make their own way with raw innovation.Iku Sakan, an electronic musician and DJ from Osaka, has spent most of the last decade living in Berlin. Prior to that, he was active in the underground club scene of Kyoto & Osaka. A previous unit was Sakan & Senju (with Muneomi Senju of The Boredoms). Together, they produced a 15 copy handmade edition of their music on CDr. Iku personally handed a copy to Karlheinz Stockhausen, when he was visiting Tokyo for his last festival appearance in Japan.Sakan began playing steel drum at the Görlizer park in Berlin, Tori Kudo of Maher Shalal Hash Baz then invited him to accompany the band. Immersing himself in the international DIY / noise / improv scene back in Berlin, he became active as an improviser, DJ and promoter, and has since worked with Sun Araw, Anders Lauge Meldgaard, Pekka Airaksinen, Günter Schickert, and Damo Suzuki.Playing and improvising, touring and DJing, has led to his sound, a kind of metaphysical music, with circular rhythms and an emotive, melodic feel. He combines analogue and digital devices (Omnichord, Roland MC303, and a DIY electronic doll synth. made by his friend Stephane Shibatsuji-Perrin in Tokyo), and pre-recorded materials, mixing and merging all four signals into one mixer (no MIDI sync.), through an effect pedal. When recording, he usually lets these devices run until something clicks. Then he records and starts to improvise, like he's playing an imaginary instrument, entering a timeless region where track length loses its meaning.2017 has seen some of Sakan's Berlin recordings released, initially on two tapes: 'Human Wave Music', for Natural Sciences, and 'Cepheidian' for Planet Almanac. The two track long player 'Prism in Us All' on Japan Blues' imprint is his first LP. His on/off-world sound, part kalimba, part gamelan, part E2-E4 - and at the same time, none of them. A hypnotic, musical mantra, centring the spirit, and resonating with the harmonics of the spheres.Prism In Us All' is the second release on Japan Blues' eponymous imprint, after featuring the album on his NTS show in January.300 copies only, in silk-screened sleeve.

DMC World Champion and IDA World Champion. A deep cut non skip 7" DJ scratch tool by Ritchie Ruftone, with one side at 83 bpm and the flip-side at 133 bbpm. Weighing in at 40 gms.

The Revenge is back at the controls for Home Taping!!!

The Scottish DJ and producer kicked things off on the imprint back in 2009 with his 'Forever In Their Debt' release, which grabbed the attention of House DJs around the globe.

Now he drops another timeless EP of killer House Music on the imprint
'Lost Grooves Part One' demonstrating his musical depth and amazing production skills as he drifts effortlessly between jackin' dancefloor trax, deep House grooves and looped up Disco business.

The result is a totally authentic and raw sounding homage to House music delivered by someone who has lived and breathed it over the last decade or so.

Home Taping all night long!

More Than Less, started from Seoul, South Korea, came back with 4th Vinyl release Folka EP, composed by Joton, owner of Newrhythmic Records, based in North Spain, Leon. He is also part of More Than Less records, releasing "Fragment EP" with Soolee remixes in 2014. It had great success and been supported by many producers like Surgeon, Pacou, DVS1, Invite ,Lakker, Paul Mac, Samuli Kemppi, Unam Zetineb, Jeroen Search and many more. "Folka EP" has two new tracks, called "Frontier" and "Sendice". These two tracks are remixed by Japanese Techno hero, DJ Nobu, and Korean Techno pioneer, Soolee, again. The "Folka EP" represents the conjunction of AsianEuropean Techno, which More Than Less has been pursuing. "Frontier" has pure anlalog synth sounds with addicted melody line, based on rough sound textures. It s obviously for the peak time of the dance floor. "Sendice" has unique grooves which Joton s trademark and adding rhythmic loops gives numerous dance feelings. "Frontier", DJ Nobu remixed, gives hypnotic raw sounds and exotic feelings. It has subtle rhythmic factor and people can t help moving their body. Another remixer is, More Than Less Records owner, Soolee. It is 9 minute track, consisting with full of hypnotic sounds from the first to the end

A brand new instalment in the Trans Afryka series, that is loosely inspired by the sounds of the black continent and devoted to club-oriented Afro-House.

Riding the waves of success with sold out volume 1, Zambon employed three talented producers to bring more goods to the table.
Transatlantyk regulars like DJ Dook and Universo are joined by a newcomer Tamten and together deliver a bomb of an EP!

Aptly titled 'Afro Acid' by DJ Dook is exactly what it says on the sleeve - raw DJ tool with squelchy samples, mantra-like vocal loop and focused vibe. Think of an soundtrack to a futuristic version of Apocalypse Now. Just the perfect peaktime beats to heat the party a little bit more.

'Praise Song' by Universo is built on a wandering bassline reminiscent of Malian blues with tribal chants, penny whistles and various sorts of percussions on top. This beautiful groove rolls and rolls without end, like an endless summer.

'Ukukhnaya' by Tamten is the most atmospheric out of the three, fusing New Age midi sounds with the vibes of South African deep house.

Ninth instalment of Redscale. Grad_u with a masterpiece of dub techno. Vinyl only.

"Holdback", an unexpected twist of events for followers of Redscale, is actually a bold step forward in terms of pace and light. The enticing chords work like a magnet, and the potential of the lady on the mic is no lower than that one of a siren. The personal weapons of grad_u, the most powerful of which are the embracing loops, are of course out there, indicating the
producer's inner spirit and roots.

Picking up where "Holdback" left off, "Outwards from Laniakea" is a statement more rugged, yet as absolute as the message on side A. It's an invitation to put that jacket back to the
cloakroom, switch off that phone and let yourself go, again and again. It's, once again, a compelling statement against conformity.

***

Early support by DJ Deep, Cari Lekebusch, Jonas Kopp, Shlømo, Josh Wink, John Osborn, Echoplex, Don Williams, Wata Igarashi, Regal, Mark Broom, Marcus Intalex / Trevino, Ryan James Ford, Francois X, Albert van Abbe and many more... .

Panorama Bar resident Nick Ho¨ppner gets to Work on his second solo album on Ostgut Ton, connecting the territories of House music with the ease of Alt-Pop.
Work as in labor. An axiom that fuels the capitalist system just as the Techno/House scene economy says that one needs to keep oneself busy to make a living. As a musician, things are complicated of course. It's a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. Those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. After leaving his full time job as Ostgut Ton's label manager in 2012, Nick Ho¨ppner went fully freelance, focusing on his musically diverse, deep and dynamic DJing in and outside Berghain's Panorama Bar, but more importantly spending more time in the studio. The result was his critically acclaimed debut album Folk (Ostgut Ton, 2015), various 12' releases and remixes, and now his sophomore LP, Work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.
Work as in body of work. A record is more than the sum of clocked up hours at the studio, but the result of an artistic-creative process. On Work, Ho¨ppner shows his everlasting lust for musical detail, his increasing technical skills and compositional finesse. Work is a very personal, soulful and deep record that breaks through the usual club/dancefloor narrative by documenting Nick's interest for hybrid sounds and combining elements from varying musical genres. Work's lead single 'All By Themselves (My Belle)' is a very atmospheric, intimate and steadily unfurling IDM piece with ethereal synth and vocal pads; on the album it's contrasted by 'Clean Living' with Tram 78, a modern Ho¨ppner club classic: powerful, kick-heavy, muscular, cheerful and uplifting. It's a very personal track resulting from a recent reencounter with an old friend. Having spent countless hours together in Berlin's clubs in ever changing states of mind a decade ago or longer, things have since changed for both towards a more - clean living'. Connecting to this musical vibe 'In My Mind' follows with a slightly darker tone putting emphasis on bassline, percussion and squeaky sound detailing. 'Hole Head' pays tongue-in-cheek homage to Nick's love for UK club music, when a dashing melody of synths and vibraphone is matched with clattering breaks and syncopation. The dubby, mesmerizing 'The Dark Segment' not only impresses with its hypnotic synth figurines, but also by morphing to a shuffling Jazz rhythm towards it's middle part; 'Forced Resonance' uses Oberheim synth brass stabs to dramatic effect; the percussion- and clap-laden 'Fly Your Colours' comes with an irresistible piano melody atop an energetic kick; and finally the album-closing, shuffling but rhythmic, noisy yet bluesy 'Three Is A Charm' featuring the duo Randweg on clarinet, cajo´n and acoustic guitar is a coherent departure heading towards Indie Pop territory. It sees Nick collaborating with acoustic instrumentalists for the first time in his ten-year- spanning Ostgut Ton release catalogue.
Work as in artwork. Staying in line with the Folk album, the visual companion for this record comes from German collage artist Frank Bubenzer. As with the artwork at hand, Bankentsunami, and his other works, Bubenzer cuts up print magazine advertisements and recontextualizes them into new motifs, removing all human depiction from the source material, here as a commentary on the world of business, big money and the banking crisis.
Work as in work it. As a slogan 'work' has always been one of the genre's most utilized paroles, coined and put on wax by pioneers like LNR, Blake Baxter or Steve Poindexter, to name a few. Not only calling for the crowds to get moving on the floor but also to fully express themselves and their unique individuality inside an all embracing environment. A mindset rooted in House Music that has been an integral part of Nick Ho¨ppner's identity as a DJ and producer from the beginning and all through his decade-spanning residency at Panorama Bar. Work it!

Life and Death welcomes Italian synth wizard Lucy, for the label's inaugural release of 2017. Luca Mortellaro's cavernous techno offering comes equipped with a DJ Sotofett version and a rendition by Planetary Assault Systems, further cementing the diversity of the label's scope. DJ Sotofett recalls fine nineties loop techno while Luke Slater once again confirms his pioneer status.

Schmer-007 "Smoking is Still Bad for You - Volume 1" is here and contains old school and new cool tracks from all the original Schmer culprits plus some loops from our new friends. Dietrich Schoenemann and Prototype 909 dug their tracks out of their vast archives of unreleased originals. DJ RX-5 and BPMF delivered some hot new Schmers to get us moving again.

For the last 20 years we've all been tormented by the great issues facing mankind and most vexing among them of course was "When will the next Schmer record finally come out" I am happy to say that the answer, my record distributing friend, is NOW!

Prototype 909 demands that you ( redacted ) ... "The Volume"! A track recorded in 1997 and finally getting released for the first time here. Prototype 909 was a "group" from "New York" that made "techno" in the "90s". Since then, the three members of this group all went on to do things. #TrueFacts

Dietrich Schoenemann has been so busy being one of the last men cutting all the records in the world that he hasn't had time to organize his catalog of unreleased gems. I distracted him with the old "look over there" trick and stole "8 Feet" from him while he wasn't looking. ( Hopefully he didn't recognize it while he was mastering it )

The last Schmer vinyl was DJ RX-5 "A Taste for Crap EP" from the then Moscow based very underground DJ Compass Vrubell. Nina Kraviz thought it was so crappy she put a track from it on fabric 91: Nina Kraviz; so I asked Alexey to make some more crap. He did it His Shway and this is the result. ( PS He still has all the patterns for the RX-5 from the original release so remaster, remixes and rereleases are in Schmer's future, HUZZAH!)

BPMF - The original Schmer artist had nothing better to do so he kommt back and gave us this track.

We love to torture the engineer so we just had to include some loops:
Rhizome is the alter-ego of Moscow wunderkind Nikita Zabelin.
Philly based Hero/Victim has been victimizing soundsystems up and down the East Coast with his mad live performances.
The Wise Caucasian is a pseudonym for some super famous London based producer and label owner, or at least that's what he claimed when I picked up his bar tab.

(180 gr) Talamanca System are the unlikely trio of Gerd Janson, Phillip Lauer of Tuff City Kids and Mark Barrott. Their sole release in late 2014 became one of the best selling on the International Feel imprint. My Past Is Your Future brings them back together for a trio of magical productions that cumulate the power of their production skills and winks at a forthcoming album coming on the imprint this summer.

Talamanca System are the unlikely trio of Gerd Janson, Phillip Lauer of Tuff City Kids and Mark Barrott. Their sole release in late 2014 became one of the best selling on the International Feel imprint. My Past Is Your Future brings them back together for a trio of magical productions that cumulate the power of their production skills and winks at a forthcoming album coming on the imprint this summer.

Talamanca System's debut set them alight across the dance music press and the follow up catapults their distinctive take on modern dance music back into the current consciousness. The EP delivers a nirvanic state, with My Past Is Your Future's use of delicate chords, cascading keys and effortless groove. This is a divine record, paired with a Beatless Stars Is Space mix that strips it back to its core and the Chukka Chukka Dance mix squares up to the dancefloor with an end of night classic.

Best known for his burgeoning Running Back imprint, Gerd Janson is a DJ's DJ, a connoisseur of dance music with an inimitable style that cross genres. His production partner Phillip Lauer forms part of Tuff City Kids and Black Spuma, who have also released on International Feel, with a style that fuses the rhythms of house music with bold melodies to form structured songs. The result is music that can sit comfortably in many worlds.

Mark Barrott started out in the mid 90's as Future Loop Foundation and since has composed music for numerous films & TV shows and founded one of the world's leading music consultancies. His highly-respected International Feel label has featured albums from the likes of DJ Harvey and Jose Padilla, with a huge portion of the releases dedicated to Barrott's own anonymous pseudonyms. Barrott's Sketches from an Island project has gained support from Pitchfork, the Fader, the Guardian and even the Financial Times for its bold and quirky take on Balearic music.

The three of them form an exhilarating partnership in Talamanca System and this EP gives a snapshot into their forthcoming album due to be released on International Feel in May 2017.