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'For The Colleagues Of Ubu & Their Authorities' is the brainchild of Vienna based vinyl enthusiast, DJ & producer The Reboot Joy Confession. What once started as a series of mixes has been expanded into this compilation, on which he brings together diverse genres of music like electronica, modern minimalism, folk, post-rock, avant-garde or modular music, which also reflect his own versatile musical taste. 'As I stopped thinking in genres, my attempt was to merge my musical taste in the most fluent way possible onto one record. There are mesmerizing songs from some of my favourite contemporary artists - I feel a timelessness in their music, I can ´t get tired of. With the compilation I wanted to create a contemplative, fictitious, surreal world, merging those different styles together. Giving it that title, I wanted the listener to be able to imagine a tale that is building up with each song. I am really happy about the outcome of this compilation and hope that many other listeners can feel the magic.' The compilation includes the surreal work of Swiss producer Dim Grimm (also known as Dimlite), as well as a collaboration between Merz & Julian Sartorius Drum Ensemble who radically altered the original version of 'The Hunting Owl' into a monstrous percussive live version. Taken off the debut album from one of Poland ´s most interesting musicians at the moment, Waclaw Zimpel & Kuba Ziolek, 'Wrens' is a fusion of folk, jazz and modern minimal music. Experimental pop musician & filmmaker Tujiko Noriko appears with an emotional piece that challenges the paths between pop and avant-garde. Gerhard Zander, whose musical work started on the outskirts of experimental pop music in the early seventies in Germany, delivers a modular synth masterpiece with unique sounds, textures and a far-out synth choir. Rock and ambient influenced musician Helen Money (also known as Alison Chesley) is a Los Angeles based cellist and composer who appears with a massively dark post-rock song called 'MF', which was recorded at Steve Albini's Electrical Audio studio in Chicago in 2009. Often compared to Frank Zappa and known for their richness of ideas, Liverpool's a.P.A.t.T. contribute the hypnotic 'Young Free & Parasite', with references to British glam, post-punk or synth rock, but in a fresh and obscure sounding outfit. SSELLF, the moniker of New Zealand ´s Christoph El Truento, inspired by post-punk and noise. 'Visitors' is simple and simply in your face, with lo-fi drums, distorted synths and raw vocals by Christoph himself. After a few seclusive years, The Reboot Joy Confession returns with a new, crispy and soulful track. Cinematic strings written by Martin Riedler, arranged by Flip Phillip, and recorded at the established Vienna Konzerthaus, based on a properly arranged drum outfit and played by a villain named Gurlimu. Both strings and drums are guiding through the whole song and culminate in Glockenspiel and Rhodes melodies. Oceaneer aka Japanese pianist Oneechan Nanashi completes the compilation with her beautiful and profound composition 'The Sea, Forever'. She describes her music as 'improvised instrumental underwater music from the bottom of the Pacific Ocean, played with broken instruments, directed by the spirit of drowned people who are talking through the hands of the pianist. It's lonely and bleak music for the dead.'

In 1991 Baritone Tiplove released the highly acclaimed 'Young Ladies Drive Me Crazy' 12' on Easy Street
Records introducing the world to the bizarre minds of this fictional duo. The 12' was well received and
followed up by the cassette only LP 'Livin Foul' which has gone on to be a highly sought after rarity and has
even been called the greatest cassette only rap album. In 2017 Diggers With Gratitude released the first of a
planned three part series of unreleased Baritone Tiplove material, recorded across the late 80's and early 90's.
Now, in December 2018, In Effect Recordings and Diggers With Gratitude are proud to announce the second
EP in this series.
Many people know Baritone as the alter ego of the multi-talented Phill Most Chill (aka Soulman) who has been
enjoying somewhat of a resurgence in popularity of late amongst hip-hop vinyl fanatics. Recent collaborations
with DJ Format ('The Foremost') and Paul Nice ('The Fabreeze Brothers') have been widely acclaimed, as
have his numerous guest appearances, and our previous release of vintage material from Phill, 2011's 'All
Cuts Recorded Raw', remains our best selling release to date and is now highly sought after. Suffice it to say
we expect these to sell out quickly, don't say we didn't warn you!

Midday Moon is a survey of ambient and experimental music that emerged from Australia and New Zealand between 1980 and 1995. These recordings are sourced from a rich variety of micro-labels, private pressings, theatre soundtracks and artists' personal archives. Curated by Melbourne based DJ and archivalist, Sanpo Disco (a.k.a Rowan Mason), the collection delves deep into the world of outsider music that emerged in Australia and New Zealand in the latter half of the twentieth century, as synthesisers and early workstations began to enter the consumer marketplace. The record is an odyssey in itself, a journey that takes listeners into the unsung world of Australian new age composers. There are stories abound within this volume, from the mysterious disappearance of Helen-Ripley Marshall after the release of her 1988 album 'Green Chaos', to the journey of American-born, Perth based blues/rock guitarist John Heussenstamm, who unexpectedly turned his finger to 'ambient' music in the late 80's; and again from Melbourne based Ros Bandt, who made a series of recordings exploring the resonance of a hollow concrete cylinder 5 stories beneath busy Collins Street in Melbourne's CBD. Compiled by Sanpo Disco / Mastered by Mikey Young . '(Ambient music is) a surrounding influence that induces calm and a space to think... it can accommodate many levels of listening attention without enforcing one in particular.' - Brian Eno / 'A richer and more diverse ambient genre began to form. Music that crafts a unique cultural geography of landscapes and atmospheres: real and imagined, natural and man-made. Some artists turned their attention to the singular acoustic ecologies of overlooked spaces around the country. Others fostered interests in non-Western music cultures and instruments. The common thread is their use of new technologies to conjure interior and exterior regions, through acoustic and synthesised sounds.' - Sanpo Disco

Names You Can Trust presents the second installment of Rueda de Bullerengue, a collaborative series with NY-based Bullerengue collective, Bulla En El Barrio. Named after the group's ongoing monthly performance and workshop in Brooklyn, Bulla's collaborative spirit and dedication to the tradition of los bailes cantados has made an indelible mark on the bubbling tropical music scene of New York City, and in turn, found their way into the crates and sets of DJs and vinyl aficionados via their first 7-inch release on NYCT in 2017. Since those initial moves, Bulla has continued to grow and add working members while maintaining a philosophy and connection grounded in the traditions of their Colombian origins. They've studied and collaborated with elders and legends like Emilson Pacheco and Darlina Sáenz, and this past year embarked on a recording with Barranquilla-based collective Tonada Baile Cantado — the focus of this edition's recording and release.

Considered one of the premier groups advancing the tradition of Bullerengue within Colombia, this incredibly talented group of young musicians are a rarity for their skill and age. In a region where there are ongoing festivals celebrating the tradition of Bullerengue that still command massive audiences and performers, Tonada is a true representative of what can happen when such an amazing tradition is passed forward to an eager next generation. Produced by Bulla members Camilo Rodriguez and Diana Herrera (aka Carolina Oliveras) in between their time smashing stages across the U.S. for Combo Chimbita, this is a carefully nurtured and powerful bridge to the beloved traditions of Colombia's Caribe region.

Without further ado, here lies Volume 2 of Rueda de Bullerengue, featuring Tonada Baile Cantado, a new generation of traditional Colombian dance music transmitted directly from Barranquilla — Four dance floor crashers in the styles of fandango and chalupa, ready-made for your 45 spins in the inimitable style of Names You Can Trust.

Belgium DJ / Producer ED1999 kicks off the debut release for his newly minted 'Porpax' imprint with 'Melodius Hubbub, a 4-track EP of hypnotic dark Techno saturated with modular wizardry. The release confidently displays ED1999's production power as well as the serious direction the label is aimed at taking. The music featured clearly inspired by the energy found in Tbillisi, Berlin, Detroit and anywhere else heavy duty underground music is celebrated.

'Path Of Hope' is a punchy mover heavy on the reverb, with washes of metallic gray atmospherics floating in and out of the steady analogue drum patterns. The track grows in energy throughout with additional claps, hi hats and melodies generating an absolutely effective tension building weapon.

Title track 'Melodius Hubbub' is pure hypnotic Techno at its absolute finest. Black as midnight elements drive the energy to dark territories. ED1999's perfectly positioned sonic peaks and valleys of thick musical textures ensure the dancefloor never loses a moment getting lost in the incredibly positioned hypnosis of sound.

'Winding Course' is centered around a gurgling synth ride which gives the track an uneasy and twisted vibe throughout. Additional melodic effects join the main synth, adding a romantic sense of danger and dancefloor movement. Akin to ED1999's brilliant ability to keep his music restrained and effective for serious club-goers.

'Sleazy Nook' is the darkest of the dark tracks found on the release, with shudder inducing effects and ice cold soundscapes residing alongside the winding rhythms. A truly intense breakdown midway through the track generates a clever sense of sinking, with only the kick drum returning to keep people safe from going under.

'Sometimes it's hard to say how you feel,' says songwriter-vocalist
Jade Vincent. 'These songs are vulnerable stories for me to tell -
they're things I couldn't say out loud. But I found that I could sing
them. And then I closed my eyes when they would listen.'
Listening to Vincent's songs were her partner - producer/composer
Keefus Ciancia - and DJ and producer/composer David Holmes.
Together, Vincent, Ciancia and Holmes make up Unloved, the musical
project that evolved out of a late-night Hollywood bar in 2015,
releasing a stunning debut album the following spring and this year
crafting the soundtrack to Phoebe Waller-Bridge's acclaimed new
series 'Killing Eve'.
Introduced to Ciancia through soundtrack work, Holmes found
himself invited to DJ one night and to curate other nights at the
Rotary Room. To invite Holmes to DJ is to unleash a kind of whirling
dervish of musical enthusiasm but through those nights the trio
discovered a shared love for 60s girl groups and French pop and film
noir soundtracks, Brigitte Fontaine, Shuggie Otis, George 'Shadow'
Morton, Bruno Nicolai, Lee Hazlewood and Jack Nitzsche, along with
a tremendous desire to work together.
Their debut EP - 'Guilty Of Love' - and the full-length, self-titled
album that followed in the spring of 2016, offered a quite remarkable
thing: a sound at once hauled out of the silty depths of the past and
simultaneously wholly modern. There was the soft hiss of a lo-fidelity
recording - the murky crackle of sample, beats and half-remembered,
long-lost favourite tunes. However, much of the songs' success
belonged to Vincent's sublime voice and lyrics, both possessed of an
aching, rich-smoked tone of loss and love.
Unloved's second album, 'Heartbreak', is about love. The album plays
out each song like a vignette of nothing but love. The songs that rose
up were in some ways surprising, but also felt insistent. 'They're real
feelings and real experiences that I had the guts to finally say, but
always ambiguous, this is very important to me,' she explains, 'and
always about love, one way or another.'
LP pressed on red coloured vinyl with digital download code.

Off the back of the highly conceptual project 'Plata - Last Dayz', Circadian Rhythms quickly return to focus on their white label series and solidify their signature sound. CRWL003 takes form of three club driven tracks from the arsenal of Leicester based producer R@ (Lewis Ireson). The 21 year old's current studies in Video Game Development have evidently started to seep into the ferocious sound that has drawn him attention.
His praised debut EP 'Neural' was released on Stella Beats in October 2018 and following his DJing debut at the CR003 Live event alongside Mssingno and Plata, he now continues this run with his first vinyl release, showcasing his signature production.

Continuing on the thematic thread of soundtracking an imaginary short movie, label founder DJ Tennis aka Manfredi Romano, asks some of the greatest contemporary club producers to take on the task of interpreting this idea in their own unique style. Romano explains that 'the score is a translation of our imagination, memories and emotions into music, with no protocols.' Opening the soundtrack, Vatican Shadow swaps his thunderous techno for a more cosmic and gentle approach, setting the tone for an equally serene soundscape from London based DJ and producer Midland. Japanese Future Terror head honcho, DJ Nobu, layers dense cerebral textures exuding the punk spirit of Life and Death. A similar rule defying energy can be heard by Ninos De Brazil who fuse carnival percussions with straight up old school techno. Both Scuba and Uchi bring the futuristic synths of a space age tomorrow we've all been waiting for. German producer Isolee interprets the task with his minimal productions and Italian producer Cosmo closes the compilation with Psychedelic Soundscapes turning into a distorted gabber missile. As the decade edges closer to it's decade anniversary, Romano proves yet again that Life and Death is a label which evolves through each reincarnation of itself, never failing to impress.

Jabal is the title of the forthcoming release by Kendojubaki and Dj Ali through Berlin based Label 'Live From Earth'. The release is the second instalment of the labels Live From Earth Klub series.

'Jabal' translates to mountain in Arabic. It is also where the two artists roots trace back to in their home country of Lebanon. The listeners receive a glimpse of the socio-political issues surrounding the jabal areas across Lebanon through unique sampling

KendojubakiKendojubaki is the pseudonym of Adam Rajab, an Australian-Lebanese Sound Designer and producer currently based in Melbourne. As the son of Lebanese refugees he spent parts of his childhood working in his parents Middle Eastern supermarket. In times of recreation he and his relative Ali would pretend to be an Arabic wedding band playing the tabla and the mijwiz to imaginary dabke dancers.Hatched from these activities and through years of back-and-forth between e Middle East and Australia, Adam has captured a unique sound-language which amalgamates traditional sounds of the Levant with modular synthesis, drum machines and industrial elements of unrelenting vim. His thematic music dwells on commonly unfair socio-political issues surrounding the east and the west, displacement and identity.

As a Dj Kendojubaki's sets are filled with long Arabic intros, old school hardcore rave tracks and tempos above 140. In his own productions and live sets, kendo recombines his sound design influence into powerful and cathartic riddims, along with thick echoes un-natural like drums.

Dj Ali Dj Ali is the stage name for Ali Chahine, an Australian-Lebanese live hardware act currently based in Melbourne, Australia. In his productions, Ali fuses sounds from his archive of field and foley recordings along with 90's hardcore rave melodies to create an emotive flow of fast techno music.As the son of Lebanese refugees, Ali also shares stories of conflict and socio-political issues through his music and art. In 2018 Ali joined the collaborative label 'Al Gharib' with relative Adam Rajab who is most commonly known as 'Kendojubaki's'. The two are collaborating on a 12' release named 'Jabal' in December, released through Berlin label Live From Earth.

THROUGH GODS OWN EYES
MusicForSunrises&SunsetsDarkCornersOfTheDanceFloorDarkCornersOfTheMind.
FastDeepSlowRaveInspiringInspirtational&CosmicUpliftingWildPitchedHeartMelting&HeartPoundingSexMusic

Conceived in Bali as a club event to allow Phil Cooper and Indonesian DJ, Dea Barandana a chance to flex their rave potential and dig out those obscure, heavy dance floor cuts it has been hosting sporadic parties for the last 3 years, with no specific musical boundaries, it is about the late night, early morning dance floor experiences, heads down and lost in music!

A label was also planned, but when that would happen was always unclear, however a chance meeting in Croatia at Love International Festival 2018 between Phil and Carlo Bragagnini AKA La Mano has led to the inaugural release, TGOE001 La Mano 'Tana del Lupo' EP

Side A - Sirena, inspired by the classic Italo stable, a deep and driving intro that builds with a rolling, solid bass line, shimmering effects, gun fire handclaps and siren sounds before the piano line eases in to take it to a euphoric crescendo of soaring synths for maximum hands in the air vibes...

To add weight to the release, remixer options were discussed and both agreed on Man Power, and his rework has taken it to a much different place, adding a solid breakbeat to it, dirtying up the piano and extending the mix to 9+ minutes, this is HEAVY for the floor...

Side B - La Mano, the ying to the yang of Sirena, this is a much more progressive track, subtle in the arpeggio build up and layered to create a big sound culminating in a swirling series of dreamy chords and synth lines.
The Ambiente mix takes away the kick and percussion to allow the full dream like state to take effect, one for sunrises and sunsets across the globe...

New Aussie label, Corella Records, run by producer/DJ Blind Tiger (formerly Captn K) is broadening the repertoire with a second release, a new indie disco
12" single, Forbidden Fruit.
Forbidden Fruit - Field of Fruit Mix, is the one to check out. It's an indie dance/nu-disco excursion with driving bass and piano. Reverb slathered vocals from Steve Hensby
and dreamy strings make this track an uplifting 8 minute journey.
With a touch of early Chicago House in the piano stabs, Georgio Moroder in the rhythm, the drive of Underworld and repetitive elements reminiscent of Field.

Forbidden Fruit - Original Mix, is serving up some classic disco with funky synth bass, driving drums and percussion and the full range of vocalist Steve Hensby makes this a great dance floor mover.

Forbidden Fruit - Fruit Jam Mix, Blind Tiger delivers party jam vibes. Complete with electro drum machine, party goers and warped electric guitar from Luke

Dux. It's a fun, stripped-back remix, that feels like the guys have stumbled on a vintage drum machine and a bunch of instruments at a house party and start cooking up a fruity jam.
A little of something for everyone on this one, check it out.

The next batch of all-time CLASSIC hip-hop anthems from the Nervous vaults, pressed onto high quality dinked 45's. Collectors and DJ's take note!

Remastered from the original source material and featuring the unedited 'dirty' version on the A-side, and the full instrumental on the B-side, these 45's are for the heads who know what time it really is!

The original LP version of the slamming underground jam 'I Gotcha Open' from 1994 sees Black Moon doing what they do best - spitting some serious heat over more Beatminerz grooves. It's all here, the filtered bassline that is a straight Beatminerz trademark, paired with some killer echo-laden drum programming and those sick horns! The perfect vehicle for the Buckshot Shorty to get loose with his inimitable style. This is that classic mid 90's flavour, classic from end to end. If that wasn't enough for you, you get blessed with Evil Dee & Mr Walt's instrumental on the flipside which will definitely get you open, fronting is optional but not advised! You have been warned.

Fully legit, licensed and reissued by Above Board distribution in conjunction with Nervous Records, NYC. 2018.

'BAPTISMA is 55 years old, lives in Nagoya and runs an art space and concert venue called Spacio Rita. He has never before released any music.

In the hot and humid Japanese summer of 2016 YPY and I played a show at Sapcio Rita, Shintaro was DJing and BAPTISMA played a short show, too. It was impulsive and driving while somewhat earthy and dark, buzzing with dense energy like a jungle yet spacious like the hall of the mountain king.

BAPTISMA's powerful sound creates strange places - as inviting as shady.
I was captivated. BAPTISMA liked the idea of a release and we embarked on that long journey that finally led to DISK16. Along the trip we proudly welcomed HODGE from Bristol as a stowaway. His unexpected remix well rounding this square project. Finally MARIA MENDES from Lisboa served as our beacon, providing a simple and beautiful jacket for this neat release!'

Lost Futures is a new label that explores experimental and often radical approaches to dance music from the past. In a musical landscape that increasingly claims to seek and reward new forms and ideas, Lost Futures delves into the recent past to revisit forward-thinking, optimistic projects that, owing to the social, musical or outright political climate, perhaps struggled to find an audience. Allowing only time to re-contextualise these leftfield, sometimes misunderstood and ultimately human bodies of work, Lost Futures taps into the inherent idealism of rave.

LF001 trips back until the early nineties to revisit the alternative scene emerging from the Dutch city of Utrecht. Here, three young men - DJ Zero One (Sander Friedeman), TJ Tape TV (Arno Peeters) and DJ White Delight (Richard van der Giessen) - joined forces to form 'The Awax Foundation'. Inspired by the transcendent and revolutionary electronic music arriving on their shores imported from Chicago and Detroit, combining their knowledge, gear and ever-expanding vinyl collection allowed additional freedom in paying sincere tribute to these intoxicating sounds, while also developing their tastes in a more personal, eclectic direction.

The musical flavours of Awax initially leaned toward acid house and the roots of techno. However, with three different mindsets in the mix, their tastes were rarely fixed. One thing each shared in common was a devotion to collecting rare sounds, specifically more adventurous and international samples than those emanating from the increasingly-hard, masculine dance music emerging from the Netherlands during the period. Inspired by the cross-over global sound of bands like Suns of Arqa, or 'World Music', as it was perhaps patronisingly termed at the time, the trio became interested in the idea of making techno with 'ethnic instruments'.

Of course, this being 1992, none of The Awax Foundation had access to such instruments, instead, they had a vast, collective library of samples from all over the world. There were no collaborations and no clear plan. Instead, they set to work using a Yamaha TX16W sampler, the legendary Atari 1040ST computer, a cheap mixing desk and a couple of low-end synths and FX machines. When Richard mentioned the project to his friend, Akin Fernandez, the London DJ and owner of cult label Irdial Discs, Fernandez was intrigued enough to invite the trio to record a one-hour show for his 'Monster Music Radio' series on London's then-burgeoning Kiss FM.

Forced to come up with a name, 'CultureClash' seemed like the obvious choice, even if the members of Awax were only creatively sparring among themselves. Along with the term 'ethno-techno', slightly dubious to a hopefully more conscious Western audience in 2017, these were the only guiding principles to the quietly ambitious project that soon combined cutting-edge machine rhythms with samples sourced from everywhere from Bolivia to Togo, and inspired by everything from Ravi Shankar's epic soundtrack to the Oscar-winning movie Ghandi, to the technical limits of their own setup requiring a dazzling degree of cut-and-paste work. Some tracks even emerged out of academic studies within the ethnomusicology department at The University of Amsterdam.

The show aired on October 2nd, 1992, recorded in one blistering take and without any rehearsals, traversing a huge variety of tempos and styles. If the performance wasn't seamless, it was undeniably thrilling, fresh and ambitious. As such, several labels, including Fernandez's aforementioned Irdial Discs expressed an interesting in commercially releasing CultureClash, while another imprint proposed a series of twelve-inches and an album. But the sheer complexity of the project meant that it never saw the light of day, while the trio embarked on different journeys ahead, both creative and personal.

Twenty five years later, and the original CultureClash lineup and founding members of The Awax Foundation provide the sound of the first release from Lost Futures. An otherworldly, ambitious and optimistic compilation, accompanied by extensive sleeve notes from the trio, CultureClash is a timeless ode to experimentation in dance music's ever-overlapping culture.

Damian Schwartz' "Existence Itself" is a compilation of well composed melodies that evolve, while gliding over the backbone of dance floor rhythms. Whilst containing five tracks, this record feels and breathes like a full length. "Public Domain" shows Schwarz' knowledge of jazz composition.

The opening track contains chord progressions that are unusual in popular music, but should soothe a more trained audience. Nevertheless, "Public Domain" is a positive composition that should appeal to selectors worldwide.

"Heavy Weather" is dripping with modulated chords, thoroughly selected bits of FX, and otherworldly arps. Deep rhythmic drum patterns guide the track into alterations of mood and a warm bath of intelligent melodies.

"Tyner" is a funked-out piece of work that sounds like a perfect PULP records. It's this track where Schwarz shows that he is up there with the giants of modern day funk sounds. Large synth basses growl through the palette, and an oozing lead synth serves as the recognizable element.

For the B2, a beatless version of Tyner is added to this package. This should be a welcome and fun element for selectors to play around with.

"Former DJ, Now Selector" is a breathing, positive track that's the perfect ending to a versatile work like "Existence Itself".

Following a first compilation in 2016 and a series of parties, Rinse France & Piu Piu join forces for the first release of her own label : Grooveboxx Records.

Together, they present 'Memorias', the first EP of her new imprint.

Quite explicit through its title, Grooveboxx catalogue stands for an exploration of the grooves across its modern shapes, it embodies the quest of trance throughout music and question the body and the individuals on the dancefloor.

The first release is composed of 5 percussive tracks from producers and DJs Aleqs Notal, Myako and Geena.

All tracks are exploring samples coming from the Musee du Quai Branly's ethnos collection along with some some field recordings captured in a garden in Paris where south American tribes were exhibited during the ""Universal Exposition"" in Paris.

With Salvia Cosmica Myako takes us to a progressive voyage surrounded by all kinds of spirits whispering melodies to our soul while the tribe's marching band marks our footsteps with its strong percussions. Enter the forest.

Influenced by Chicago & Detroit, house producer Aleqs Notal graces us with a percussive jam baptized Finger Prints.
6:45 of pure rhythmics honoring the roots of the music its been sampled from. The rite begins.

La Dansa Del Risa is a conversation between birds and humans overlooking at the tension one night in the forest can impose on our western fears of nature. Stay close to the flames.

Antinote senior, Geena blesses us with Selva Spirit, a slowjam reverie filled with eerie pads and peculiar drum sequences.
We're almost there.

Last but not least, Jungla Encantada seals the EP with a deep wisdom and mastership of the jungle's best kept secrets. It's slow pace and flute melodies appease our senses while mysterious dialects becomes our native language.

The journey is complete.

F*CLR are hugely excited and honoured to present Moscow producer/DJ Mutenoise aka Alexander Bannikov and his masterful 'Midnight' EP - available on digital and limited 12 Inch, the vinyl has the bonus track, 'Northern Lights' is a Vinyl exclusive!

But meanwhile, back to the EP - kicking off with Mutenoise's original version of 'Midnight', rooted in the deep tradition of jazz dancers, has a toughness that crosses over and aligns itself to modern house with a warm, soulful vibe. On the remix tip, Ashley Beedle ramps up the drums with a nod towards the classic sound of 90's New York and MAW releases and along with the 'Stripped Back' + 'Mixers Delight' edits, he adds an extra element of remix goodness for the heads. 'Rules of Monopoly' is proper late night tunage, perfect for those 5am sets, with its crisp handclaps + percussion, rising chords underpinned by an unwavering bassline - house music at it's very best. And just to tease you - 'Northern Lights' (bonus vinyl only track) - another jazz soaked house track with beautiful chords, ephemeral vocal samples - echoes of downtown Moscow after dark....

Originally from far flung Western Siberia, Mutenoise gravitated towards Moscow and became an integral part of the vibrant Russian electronic dance scene rubbing shoulders with the likes of Lay Far and fellow F*CLR artist, Stan Serkin. Mutenoise has released on such labels as Raw Underground Records (UK), Vesna (UA), Underground Sources (TN), Smile for a While (DE).

DJCJ returns to his home on West End Communications, after a solid 4-tracker released on the the SMS digital series earlier this year. Powerful and energetic tracks to start, balanced with electro/ambient cuts on the flip."

DJCJ (real name Craig Johnston, CJ) (22 years young) has also released with my friends over at Craigie Knowes, both solo and under the Highfield Casuals alias as a collab project with our very own The Burrell Connection.

Simple, effective and downright deadly. Mella Dee serves up the perfect sountrack built for basements, dimmed lights and late nights.

Mella Dee's solo sound has evolved from a true passion for all things garage, a perpetual dedication to Hip Hop, combined with a love for house music which was heavily influenced by the darkness of UK funky and Dubstep.

Together these influences have enabled Mella Dee to develop a unique approach to the fusion of these sounds, into one bumpy soundscape that is simultaneously house, garage and techno.

OMENA Omena is finnish for apple. It's also a record label set up by Tobias Lidstrom aka Tooli.
DJ & co-running Local Talk Records & OneOffs.

The Brothers Jonathan And Ferdinand Bockelmann Aka Glaskin ... The kellerkinder' Who Are Taking Care Of The schall Im Schilf' & back To The Woods Festival' Form Together The Duo Glaskin. In Recent Months, A Lot Has Happened To Them, They Have E.g. With Esacpe Velocity Released Her Debut Ep And Another 2 More On Hotflush. tymewriter' Is Carried By A Broken Beat Over Which Gloomy Surfaces Overlap. Just Fat !!

Simon D And Pluto Produce Together As Preset. With club Sub' They Deliver A Dirty Techno-breakbeat Board That Does Not Look The Same. Techno Smasher !!

Blitz Resident & Lighthouse Festival Booker Leo Küchler Aka vince' Made His Vinyl Debut With namechanger'. He Does Justice To His Style As A Dj With This Housig-playful Number In Each Case.

Phillip Von Bergmann Is Rote Sonne Resident And Firmly In The Circle Of Friends Of Ilian Tape, Maurice Paloni Runs The Label Alden. The Result Of Their Collaboration Is A Breaker Club Track, Perfect For Building Tension.

* 13 tracks featuring the likes of DRS, Serum, Riya, Cleveland Watikiss, Lorna King, L-Side, MC Fats, T.R.A.C and Sofi Mari.and many more.

* Colourful, effervescent, and energetic, the Brazilian drum & bass scene has given us some of the most distinctive production voices in the game. Including São Paulo's Level 2 and DJ Chap or, as they're known collectively, Alibi.

* 'In each of the songs, we expressed our feelings and each song carries a unique message. The album itself talks about life. We all go through times where we fall and get hurt. Then we get up and we recycle. In every single situation: we learn.' - Alibi

* Alibi signed exclusively to V Recordings at the end of 2015, and this LP shares the characteristics held dearly by both the duo and the label. Weaving together threads from the duo's shared funk, soul, reggae, and hip-hop influences with the drum 'n' bass tutelage of shared heroes like S.P.Y., Calibre, D-Bridge and the late Marcus Intalex, this is set to be the most complete statement of their musical vision so far.

* Each track from the album stands as an example of their impeccable production, starting with 'Debris' which is filled with cinematic textures and a sub-low reese typical to their sound. The album plays home to a handful of other lighter atmospheric pieces, including 'Recycle', 'Destiny', and 3 other tracks with Riya, Cleveland Watkiss and Lorna King, all gracing the booth with their vocals. The duo can effortlessly skip between sub-genres, shown by the tracks on the LP that would be more suited in a dark club at 5am, such as 'Smash Through The City' with Serum, L-Side & T.R.A.C., as well as the floor shaking 'Scuffed' - there's a style to cater to everybody.

* With V Recordings celebrating their 25th anniversary, there really is no better time for Alibi to cement themselves as one of the crown jewels of the label and the scene as a whole.

The 'Vista' EP caps off an intensely busy year for Geoff Kirkwood, otherwise known as Man Power. The British DJ/producer has become quite the 'tour de force' in 2018, with releases and remixes for Futureboogie, DFA, Correspondant, Exotic Series, Skint Records, and his very own Me Me Me imprint. So it seems quite fitting to seal a productive 12 months with a release on Richy Ahmed's Four Thirty Two, a label that itself has been firing out big releases this year from EJECA, Jansons & Senzala and Ahmed himself. And joining this big end of year party, enter stage left, Roman Flu¨gel, who delivers an absolutely stellar remix of 'Vista'. Meaty synths and clattering 909 drums are doused in futuristic Italo disco vibes for
'Outrider', whilst a winning combo of breakbeats and acid affected bass provide the backbone of the simply gargantuan 'Vista'. Roman Flu¨gel's interpretation of the title track brings the break to the fore, playfully teasing out the acidic sounds and surging strings for another truly memorable remix that we've come to expect from Mr. Flu¨gel. Closing the EP, 'Poly Pop' delivers a vivid and bright burst of melody over clanking
percussion and sturdy beats, filled with 'end of the night' optimism that's become Man Power's forte.

SJ Tequilla continues to build on his small but well formed discography with a new EP on Bright Sounds. His three originals come backed with a remix from cult producer SW. SJ Tequilla has released on his own Shot Of T imprint and DJ Fett Burger s Freakout Cult since debuting in 2017. The Japanese born, Berlin based artist is also close to Sex Tags Mania and regularly holds it down at OHM Club as well as for busking on his live, vintage hardware jams around the streets of Kreuzberg.
The opener is a six minute house bumper with a classic lead acid line and plenty of Detroit pads. The pinging analogue drums are lively and elastic while more thoughtful keys are draped over the top. SUED man SW. steps up to remix and brings a mixture of pad laced serenity old school rave basslines to his hard hitting drums. The B1 is another rugged mix of live sounding drums, acid snuggles and rueful keys while ambient synths stretch off to infinity. Last but not least, B2 sinks into a blissed out dub house vibe, rolling deep and smooth and showing off Tequilla s ability to cook up far sighted synths that have real emotion. This is an EP well school in traditionalism but that also brings some fresh skills and ideas to the grooves.

Neville Watson returns to DBA with The Midnight Orchard, his first full-length in five years. Watson is a key figure on the electronic music scene at large and has made regular appearances on Don't Be Afraid, as well as on celebrated imprints such as Crème Organization, Clone and Rush Hour, where he released some of his best-known work alongside Kink.

In a crowded landscape of factory-line jack trax and synthesis for the sake-of-it, it's little surprise that Watson's physical, arresting takes on house and techno have been such a staple in the record bags of the world's leading DJs for the past twenty years. Throughout The Midnight Orchard, Watson seamlessly bridges his futurist leanings gleaned from a lifelong commitment to electronic music with the anarchic spirit of his acid-house heritage.

The record still finds catharsis in the relentless pulse that has defined Watson's life since his early residencies where he peddled ecstatic escapism to towns on the commuter belts of London, notably via his involvement in seminal Reading party Checkpoint Charlie. However, there's a more somber, arguably introspective and perhaps even somewhat wistful tone at play throughout. This might surprise those who've invested their feet and hearts in tracks with titles like Night Of The Inflatable Muscleheads and Everything I Know About House (I Learned on Facebook).

In a move away from his previous musical leanings, The Midnight Orchard embraces a distinctly more UK sound, unapologetically chronicling the paranoia that can be found skirting the euphoria of rave. And while Watson has avoided the eyebrow-arching pitfalls of the self-serious DJ full-length, it must be noted that the rhythms here are more skittering, the atmosphere less jubilant and the signature lo-fi hiss, fully popularised and bastardised since Watson's last album, has taken on a more fore-boding tone.

Meanwhile, the atmosphere elsewhere harks to a more idealistic world, particularly on the cascading and subdued Eine Kleine Emusik, and the euphoric We Own The Night. Twin Tub and Reet Dux provide dubby, sensual moments of escapism. There's uncompromising, hard-nosed rhythms on Dee Sides, and cosmic electro throughout 4am in the Trees. The album then concludes in a bold fashion with Displays of Brotherly Love and the resolutely hopeful atmosphere of Phosphorescent.

Reflecting decades of immersion in club culture and taking inspiration from wider-found sounds, The Midnight Orchard is loaded with thrilling parallels and a sense of genuine unpredictability. Tracks like Come On In and Anarcho Midnight are layered with unease, utilising pitch dark arpeggios and skittish, growling electronics to devastating effect.

Having dedicated the last eighteen months of his life to the studio, Watson has rec-orded what is undeniably the most unexpected music of his career. Amid the dark-ness, The Midnight Orchard has borne fruit.

Our final physical release of 2018 at First Word comes courtesy of Souleance, aka the DJ producer duo consisting of Soulist and Fulgeance, with a double A sided single, and a glimpse into one of our forthcoming 2019 releases, 'French Cassette' which follows on from Souleance's acclaimed 'La Beat Tape' release from 2013, and again delves into crates of samples with a distinct French flavour.

'François' is a track dedicated to the one and only François de Roubaix, legendary film score composer, jazz aficionado and one of the duo's biggest French influences. A delectable slice of 100 bpm instrumental boom bap, built around a seriously infectious jazz-funk groove, and chopped-up vocals.

'Sète' heads to the south of France, to the beautiful Mediterranean city where Gilles Peterson's Worldwide Festival takes place. A region that the duo have had love and appreciation of, for many years. This one touches up the tempo a little, with some sun-glazed boogie riding beneath ethereal vocals, samples and sizzling synths.


With a decades worth of collaboration between them, and persistent party rocking across Europe, Souleance continue to create tried & tested nuggets of magic for the dancefloor. This double-sided 7" is no exception, and should give you an idea of what to expect from the full beat tape next year. Meanwhile, here's another essential one for the record bags.

For the last 20 years London-based author and party organiser Tim Lawrence has dedicated himself to excavating the history of New York City party culture and bringing some of the most powerful aspects of that culture to London's dance scene, from where it has ricocheted around the world. Having conducted the first set of major interviews with David Mancuso, Lawrence started to put on Loft-style Lucky Cloud Sound System parties with David and friends in London in June 2003. In early 2004 he published Love Saves the Day: A History of American Dance Music Culture, 1970-79, which tracked the influence of the Loft on the wider New York DJ, dance and disco scene. In 2009 his biography of the iconic musician Arthur Russell became the first book to map the wider downtown music scene. These beautifully written and politically insightful histories have educated, inspired and celebrated the previously overlooked foundations of contemporary dance music.

Lawrence's most recent publication, Life & Death On The New York Dancefloor, 1980 - 1983, published in late 2016, shines a light on 'one of the most dynamic and creative periods in the history of New York City'. Falling between the more regularly celebrated sounds of disco, house and techno, the period produced a uniquely hybrid series of sounds that never acquired a settled name. This led them to be largely ignored by historians and even DJs, yet the power of the period's music and the scenes it birthed, Lawrence argues, remains undeniable. Met with a rapturous response, Life and Death On The New York Dance Floor saw Lawrence on the road for most of the next year as he spread the word about the characters, the records, the clubs and the bands that shaped the post-Disco, post-Punk, and burgeoning Hip Hop landscapes of New York City during the early 1980s—a period when freedom still ruled.

This, the first of a 2-part sonic tribute to the 1980 - 1983 era as well as a musical companion piece to Life & Death On The New York Dance Floor sees recognised musicians (David Byrne of Talking Heads) nestle up alongside the belatedly recognised (Arthur Russell's Dinosaur L and Loose Joints, and Suicide's Alan Vega) and the downright obscure (Gray, 2 Teens Kill 4 and Tuxedomoon). An indication of what's to follow, Dinosaur L's original album version of 'Go Bang' has been dramatically overshadowed by the definitive François Kevorkian remix yet received regular play by David Mancuso and remains an enthralling experimental Arthur Russell jam.

Lovingly curated across 2 slabs of vinyl, the album introduces listeners to a stunning array of sounds, styles, vibes and feelings that encapsulate this most fertile and forward-thinking era, when music, fashion, sound system innovations, leaps in music technology, a DIY attitude and a freedom from corporate politics combined with extraordinary expressivity. All music contained within this album has been hand-picked and programmed by Tim Lawrence. It represents a selective yet rich introduction to one of the most extraordinary periods in New York City's epic musical history.

This is the first release on Reappearing Records, a label led by Tim Lawrence and distributed worldwide by Above Board distribution. Licensing courtesy of Tracksuit Music. Mastering by Optimum Mastering, Bristol UK. Artwork & design courtesy of Atelier Superplus. 2018.

Friend and supporter of the Bass Cadet team, Jenifa Mayanja steps up for the new chapter of the Orbits series. She offers three very personal tracks, carefully crafted, evolving in their own space-time, showcasing a crossbound vision of deepness and soulfulness. Partner in life, DJ Jus-Ed is also here on the remix duty. This release definitely wraps up a family affair about good vibes !

We are excited to release a 6-track EP from San Francisco based DJ, producer, and remixer Sepehr Alimagham. The San Jose native has been a fixture in the Bay Area house and techno scene for quite awhile now — on the dance-floor, behind the decks, in the studio, or all of the above. Early influences like Boards of Canada, Aphex Twin and post-hardcore bands later in high school started his affinity for off-kilter, underground music. In 2017 he began performing live PA sets, utilizing his immense production backlog to perform vivid and electric sets, from potent dance music to psychedelic and esoteric soundscapes.

"Body Mechanics" is six tracks of acid drenched dance music that ebb and flow from floor filling club thumpers to more cerebral soundscapes. Inspired by the new wave of the acid sound as well as nostalgia from his formative years in the San Francisco music scene, 'Body Mechanics' takes a functional, yet psychedelic approach to 303 styled techno and electronica. Attention demanding basslines, indiosyncratic structures and hallucinatory atmospheres provide an effective framework for Sepehr's vision. The themes of the track titles take root from a series of dreams Sepehr had with a common atmosphere of strange characters and textures, akin to scenes from David Lynch's 'Twin Peaks'. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in a jacket featuring a dark and inviting cyborg hand holding a rose designed by Nicole Ginelli.

Cómeme delivers to you one of the freshest rhythms of 2018, recorded in Johannesburg, the new residency for the renegades of the beat. This is 'Rain' - starring Matias Aguayo and the actress, dj and singer Ayanda Seoka aka Mujaji The Rain. She's resident at the legendary Bar Kitchener's all femme 'Pussy Party', a space for feminist / queer action and dancefloor joy, right in the centre of Joburg.

Cómeme has been since some time in a serious and passionate relationship with that city. Radio Cómeme transmitted shows from there with electronica legend Felix Laband, Mpumelelo Mkatha from BLK JKS, the queer performance duo Faka, Gqom pioneers RudeBoyz and also Kwaito's legacy keeper Spleef McZaul. Matias Aguayo ventured into a beautiful collaboration with DJ Spoko, released two years ago on this label.

'Rain' is a deeply rhythmical track, inspired by the grooves that converged when Cómeme swing crossed the paths with the syncopations people in Joburg were dancing to. It has become quite clear in the recent years that elegantly shuffled triplets are marking a way to the future in dance music, especially in the southern hemisphere, no matter if you're in Durban, Rio or Santiago.

On top of this modern groove we can hear Mujaji the Rain enjoying how she gets wet under a dark and tropical sky. Laughter, joy and ecstasy is what she emanates while hypnotically involving you into this atmosphere of dense drumming and trance. (side note: Cómeme has been consequently evading the description hypnotical in press releases but this time it was unavoidable).

For further jacking fun we generously included a 'Club Mix', including more drum frenzy towards the second half of the track, and a 'Just Drums Mix' for the skilful DJ.

Side B features the jam 'Serious', which comes along with another killer beat, reminiscent of Michael Jackson or Cheri. A late-night track in which Mujaji The Rain turns into a sensual but slightly annoying creature that doesn't want to leave the dancefloor. and for sure doesn't want to go home.

We added an instrumental version to this complexly arranged tracks, which feature pianos, strings, and heavy synth bass stabs.
All tracks on this 12' are written in a 6/8 signature, which some normative DJs might shy away from, but be safe: both tracks are in 120 bpm and carry the seal of official Cómeme dancefloor approval by the label's highly respected DJs.

Dj Tool Techno W/ Raw And Industrial Warehouse Vibes.

We are pleased to present you the second EP of the infernal duo INTERNACIONAL ELECTRICAL RHYTHMS formed of Trikk and Mathias Schober. Let's dive right in and start with "Azaka" and it's live recorded percussions. This track just builds and builds until it falls back into that irresistible and sexy main groove. It reminds a bit of old DJ Gregory tracks - just 10 BPM less. Some would even say it is epic, we wouldn't argue though. Anyways, it serves the dance floor well and proved it many times in the past.
The second track "Kosanba" keeps the EP in balance. "Kosanba" sounds more like a Sci-Fi movie soundtrack at first listen. A basic rhythm built around a modular sequence, upright piano, washed out guitars and an eerie spacey melody with tons of reverb form a track that still works in a club context, yet it's definitely one of those tracks for the right moments as it sets a different tone for sure. Bruno and Mathias sure continue what they've started so well last year with their INTERNACIONAL ELECTRICAL RHYTHMS disguise.

Repress coming!

Razor-N-Tape bring out the big guns for their remix package of the Los Angeles Afro-Latino funk band Jungle Fire.

JKriv's remix of 'Firewalker' channels the original live instrumentation into a bombastic, DJ-friendly workout, while Boston-born/Medellin-based producer Bosq steps up to tackle 'Village Hustle' bringing his unique blend of rhythmic flavours to this melting pot of zesty goodness.

This diverse 12 Inch also boasts the first remix and release by the newly-reunited Black Science Orchestra in 15 years! Original founding members Ashley Beedle and Rob Mello take on 'Culebro' and transform it into an pulsating Afrobeat groover. Bringing the infectious bass to the foreground behind a shuffling rhythm layered with guitar and horn samples, BSO turn out a serious heater of a remix and dub, worthy of their triumphant return!

Bastard Jazz is proud to present the next installment of our long running Tempo Dreams compilation series. As with previous volumes of the compilation, we've tapped an established artist that we're big fans of to shine a light on their personal favorite producers, and compile an album up of all unreleased music from emerging & underrated young talent. And with Volume 5, we're happy to welcome in the Los Angeles based but globetrotting selection of Free The Robots.

Rooted in Santa Ana, CA, Chris Alfaro aka Free the Robots has spent over a decade taking his craft to audiences around the globe. Known as one of the pioneering artists to come out of LA's infamous beat movement, the energy and technical skill behind his live performances have landed him among the greats, sharing stages with Dj Shadow, Prefuse 73, Flying Lotus, to Afrika Bambaataa. Crafting stories to tell with his ever-evolving solo project Free the Robots, he has always had the ability to jump in and out of other worlds inspiring a unique signature sound that hints at jazz, psych, electronic, and hip hop, while remaining un-genre-fiable.

Staying almost permanently on the road, Chris has come across an array of artists and scenes around the world. Different tours and temporary living situations have landed him in the middle of both the DIY underground and more mainstream clubs and stages. Some artists he's connected with have either kept it proudly local or breached international borders. Underrated, unknown, or already on the brink; these are just a few of the people that have crossed paths with Free The Robots. He's chosen these songs as a representation of some of the vibes that inspire his music: Jazz, Psychedelia, Dirtwave, Beats, and a little bit of Future Funk make up Volume 5 of his Tempo Dreams series.

As with all previous volumes, the compiler has produced a track exclusively for the album, which Chris delivers in the bass heavy, South East Asian vibes of "Nasi Goreng" (also available on a limited edition 7" with another unreleased FTR track). Other producers included on the album include Mophono, Never Ending Echo, Kuromoji, RSI-MSK, The Breathing Effect, Cazal Organism, Lefto, Chubby Boss, Caliph8, TITLE, Nois IV, The Heavy Twelves, Mu. and Markey Funk.

Der Venezolanische, In Barcelona Lebende Kult-dj/produzent Cardopusher Meldet Sich Zurück Auf Boysnoize Records Mit Dem Ersten Teil Einer Zweiteiligen Ep-serie, Die Seinen Elektrisierenden Multi-genre-style Perfekt Repräsentiert. Elemente Aus Rave, Acid, Electro, Techno Und House Werden Hier In Rohe Und Energiegeladene Neue Formen Gegossen. Teil 2 Folgt In 2019.

We head into the final quarter of the year with a very
welcome return to First Word from London producer,
musician, engineer and DJ, Eric Lau. Following on
from his acclaimed early 2017 album, 'Examples',
we proudly present the second volume - another
delectable 28-track beats opus.
'Examples Volume Two' is Eric's fourth
instrumental album, and ably continues where he
left off with an assortment of sonics, ranging through
hip hop, jazz, funk, soul & Brazilian beats. An
elaborate sketchpad of ideas and grooves, this again
gives a taste of the genius production skills of 'The
Commissioner', Mr. Lau.
A mixdown perfectionist, his services have been
drafted into service on a number of albums over the
past few years, including Yussef Kamaal's 'Black
Focus', Mansur Brown's 'Shiroi', The Playlist's
'Chasing Goosebumps', DJ Jazzy Jeff's 'M3',
Masego's 'Lady Lady', and Kaidi Tatham's 'It's A
World Before You', released on First Word recently.
It's through these recent collaborations that we have
a few unique ingredients peppered through this
project, the track 'Jeff's Piano' is based on a sample
taken from Eric's iPhone, capturing a moment when
Kaidi was teaching Masego a few chords at Jeff's
studio. Both integral players to the Playlist Retreat,
Eric and Kaidi have also provided remix duties for
Moonchild, Omar and Leon Ware, and Kaidi Kat also
lends his key playing talents to a few tracks here.
Eric has also worked as a producer for artists like
Oddisee, Guilty Simpson, Dego, Tawiah, Rahel and
Fatima, whilst his DJ skills have seen him tour the
globe with luminaries such as Erykah Badu, Robert
Glasper and Questlove. He's received props over the
years from tastemakers across the world, including
Rich Medina, 9th Wonder, Bobbito, Dam Funk, Phonte, Gilles Peterson, James Poyser (The Roots) and Ali Shaheed
Muhammad (A Tribe Called Quest).

Freamon is a denizen of the modern world, allegedly hailing from NY, according to some, not relevant, says he. What matters is the music - finely honed and carefully crafted dancefloor gems, served up with love the way they used to be, the way they ought to be.

The Hot Damn! EP is his second release on the mysterious Turbocapitalism label, after 2016's Black Grid EP. This time, he has decided to shine a spine-tingling light on our souls. He wants you to raise your hands and put them together in an overdose of holy joy on this unashamedly celebratory slab of sweet gospel grooving. Can you feel the spirit One listen to 'No More Crying' will settle any doubts on the subject. It's gospel-funk. Or gospel-not-gospel, which is like a million samples taken from every soul record you never heard, seamlessly stitched together as if created fresh today, with one idea - to meld together into one big explosion of spine-tingling dance floor joy!

The title track takes things down a notch with a heavy kick drum shuffle - stripped back analogue house, making for an intoxicating, dense brew of sounds, feelings and ideas. Fierce, pulsating free jazz sounds, snaking around that deliciously tense, bustling bottom end, creating an infectious groove that is fresh, different and most of all, impossible to resist.

Meanwhile, Madrid's DJF and Damian Schwartz do what they do best: they take that thing straight to the centre of Detroit, let it adjust to the new environment and then freely cruise the boulevards at night.

In 1990, raising their voices over the sound of Neuropolitique's 'Mind you don't trip' Sebastian S. and Mike DMA (Direct Memory Access) met, breaking the ice by swapping opinions on LFO and 808 State. They later went on to create the first live configuration of BWP Experiments (Bad Woofer Posse Experiments, for more info see basicmoves), and produced dozens of tracks together which, for the most part, were live takes and remain unreleased. Only
a few made it out into the world, and to this day have stayed well under the (discogs) radar:
Our Techno Theory' was put out on an 8-tracker cassette by Research and Development,
while only two productions 'Escape' and 'Pay your taxes' were pressed on vinyl for the same
imprint. Now Sebastian S. (aka Caustic 14) returns to the label with two previously unreleased tracks
found in his personal archive. 'Excalibur' was produced in tandem with Mike during the last
session the pair ever did in Sebastian's studio (Z'ha'dum) in 1996. It's a vibrant hommage to
their common passion outside of music: Sci-fi. This track refers specifically to the series Babylon
5 , which was a revolution in the genre, and the first tv series to outdo Star Trek (the intergalactic
reference since the early 1960's). The idea of being 'united against darkness' was key to the
series, and the motto remained essential for Sebastian, Mike and Deg's music productions,
collaborations, live shows and dj sets. The influence of what had been a passion since
childhood can be felt in their sound: unconsciously they had dreamt up the soundtrack to their
own space journey. The second track 'Cliffhanger', a solo production by Sebastian S., is a dig from several years
earlier (1994). The Detroit influence is strong here, yet the signature Caustic 14 "space opera"
melodies hold their ground and shine out.
We are very proud to propel this Belgian electronic music heritage out into the world.

In memory of Matt Cogger.

walrus & islas , September 2018.

Return of the UK producer Allen Saei aka Aubrey on the mighty Barba label is another bold statement in the discography of this well-versed artist. Building on the relationship with the Burek/Barba/Pomalo family established through remixes of Information Ghetto's "Inspiration" track (Burek 2013), DJ Stingray's "Communication System" (Barba 2015) and his solo "Clock Funk EP" (Barba 2017), for this record Aubrey presents us with a continuation of his previous Barba release, simplistically titled "Clock Funk 2" EP. As is to be expected from a guy who's been spending time in the studio for better part of the last three decades, this 12" is pure techno, in the best sense of the word. As mature and consistent as the previous record of the series, we have Aubrey building on that ground and expanding the range into more abrasive and rough on one side, and even more subtle and humane on the other. A1, titled "Clock Funk 2" is among the subtle ones. Beautiful cascading keys, glitchy synth bleeps and lead lines intertwine into a gorgeous composition grounded by a driving bassline and counterpinted with distorted ride cymbals. Uniquely sounding track which draws influences from many corners of the planet. A2, titled "Sel Moulo" sets a point for the other side of the spectrum. The heaviest and roughest, it locks the frame in which this EP works. Direct, abstract and firmly aimed towards the dancefloor, this cut is for the peak moment of the night when its combination of jacking beats and trippy leads will just push the craziness off the edge. B1, the most humane and gentle track on the EP, "Triads" is a perfect match for the A1 cut, although slower and calmer. Again, the similar approach is used, where the perfectly tuned combination of small synth and keys elements form a complex image which will stay ingrained into anyone's mind once you play it in the right moment. Again, it's hard not to reach for the word "beautiful" when describing this one. B2, Ghost Mist, is on the other hand a match for the heavy A2, but also not as intense. A repetitive affair, with abstract synth lines and disharmonic pads serving as an emotion injection just when they're needed. Common thread moving through all four cuts is an infectious groove intertwined with synth lines that would not be misplaced amongst the best examples of space-influenced techno music firmly grounded on the floor. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by local artist EmaEmaEma.

Record Kicks Pres. "travelers, Exlplorers" The Brand New Single By Legendary Italian Cinematic Funk Combo Calibro 35, Out 9th Of November On A Ltd Edition Vinyl 45.

"travelers, Explorers" Is A New Epic Journey Into Calibro 35's World, A Sung Revisitation Of The Morricone-inspired Tune "travelers" That Closes Calibro 35's Latest Lp "decade". In "travelers, Explores", The Italian Combo Gets Lost In Deep Space With Thewhispered Voice Of Elisa Zoot, Who Guides The Band Into This Journeymade Ofstrings, Brass, Synth Textures And Vibraphone. On The Flip Side, Two Heavy-brass Dirty-groover Versions Of "stingray", Barry Gray's Opening Theme Of The Iconichomonymatv Series: Instrumental Version And With The Italian Singer Serena Altavilla. This 45 Vinyl Is Limited To 500 Copies Worldwide Andall Calibro 35's Previous 45s Went Sold Out In A Few Days, Be Fast!

Calibro 35 Enjoys A Worldwide Reputation As One Of The Coolest Independent Band Around. They Have Been Sampled By Dr. Dre On His Compton Album, Jay-z Love Child & Damon Albarn, They Shared Stages With The Likes Of Roy Ayers, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters And As Unique Musicians They've Collaborated With, Amongst Others Pj Harvey, Mike Patton, John Parish And Stewart Copeland And Nic Cester (the Jet). Described By Rolling Stone Magazine's As The Most Fascinating, Retro-maniac And Genuine Thing, That Happened To Italy In The Last Years, Calibro 35 Now Count On A Number Of Aficionados Worldwide Which Includes Vip's Fans Such As Dj Food (ninja Tune), Mr Scruff And Huey Morgan (fun Lovin' Criminals) Among Others.