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The Martin Brothers are pioneers of the Nigerian Funk and Afrobeat scene. Besides many releases under their own name, as the Tabansi Studio Band they lit up innumerable recoding sessions — it's them on Pax Nicholas' Na Teef album, for example; and the same team is behind the legendary Saxon Lee & The Shadows International LP.

Money is the Martins at their deepest and heaviest — tearing, wailing, mid-seventies funk, heady with spirituality. Superbad from start to finish with no let-up.

Original copies are amongst the most sought-after of all African and funk records on the international collectors' scene. It seems there is just a tiny handful of copies at large.

The tracks were originally laid down at Ginger Baker's ARC recording studio in Lagos and later mixed down at London's Tin Pan Alley Studios. The audio restoration and remastering for this re-issue was done at Abbey Road.

Late Night Tales welcomes back the cult figure and ultimate musical connoisseur, Bill Brewster to compile his second episode of the curated compilation series 'After Dark'. An obscure and timeless DJled journey which begins somewhere out in the near ocean, the waves are rolling and lolling gently into the shore, while a full moon shines on the surface. It's only faint, but somewhere nearby is the sound of bass, pulsing slowly, almost in time to the waves. Welcome back to 'After Dark: Nightshift'. Once again Bill Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess. Delivering another batch of slow cooked musical stews, making sure the tempo stays nice and steady and the emphasis is on funk, soul, grits and corn fried chicken, Brewster has done so much digging, Late Night Tales had to hire a forklift truck and tractor. Among the unreleased nuggets, there's the Fernando mix of The Detachments; inordinate excitement about Gino Fontaine, a tune spotted a year ago but has languished in Andy Meecham's Stafford catacombs ever since. Also unearthed are some hitherto secret recordings between Robert Fripp and The Grid, and there are also some proper club faves here, too, like the daft but brilliant 'Mopedbart' by Hubbabubbaklubb and the luminous 'Boutade' by Mugwump, as well as killer oldies like Salsoul Invention and General Lee

Ovum's 20th birthday celebrations continues with the return of Itamar Sagi. Itamar Sagi debuted on Ovum in 2009 with the amazing Fiona/Agnes Blue. After a five year hiatus from the label, he triumphantly returns with the Invisible Key EP. Raised in the hot spot of Tel Aviv, with his artist roots deep in the techno underground. Itamar is from the new breed of the current techno wave. Already well respected, Sagi's reputation continues to grow with his unique floor filling productions. His productions have caught the attention of legends such as Laurent Garnier, Josh Wink, Carl Craig, Francois K and others. It wasn't long before he found recognition on a worldwide scale, including reviews and interviews with many of the world's most popular dance magazines and radio stations. With releases on Ovum, Be As One, Soma, Drumcode and more, Sagi has shown that he is here to stay. The Invisible Key EP kicks off with the title track 'Invisible Key", which is classic Sagi. The track slowly brings you in with it twists and turns. The track bubbles and builds and creates a tension that will keep the dance floor wanting more and more. The second track from this EP 'New Order' harkens back to the sound of Basic Channel, G-Man, and John Ciaffone. Sagi once again builds the tension with vocal samples and effects that deliver an absolute massive punch without being over done. For the final track 'Dub Superstitions", Sagi brings us a proper techno workout. The track percolates and builds and once again Sagi's amazing use of tension deliver a proper massive finish to this stellar EP.

Breakbeat Paradise Recordings is proud to present Tom Showtime with his brand new 4-track vinyl release, The Butter Zone EP. As it has done so many times before BBP is bringing Ghetto Funk and Funky Breaks back to its roots by putting the funk in focus and letting the rest speak for itself. Never before has it been done as well as this with Tom Showtime getting on board and tailor-making this 4-track EP of banging feel good jams around our genres beloved 105 BPM, aka The Butter Zone.

Tom Showtime is no newbie to the field having dropped laid-back funk bombs on lables like Groove Penguin, Booty Fruit, Riddim Fruit, Tru-Funk as well as an artist EP on the Ghetto Funk label.

This time he really means business as he takes us on a deep dive into his crates of samples and treats us with some flawless ghetto boogie jams. The EP even comes with a scratchapella cut - so DJs don't forget to pick up your doubles...

Furfriend strong-arm their way on to Perc Trax after a run of eyebrow-raising releases on Berlin powerhouse Killekill. Vocal-led techno is not something you hear done well every day but Furfriend's below the belt lyrics fused with their percussive, bass heavy techno has proved the exception to the rule. Their filth driven releases fit perfectly with the anything goes atmosphere of Berlin, but also connect with the UK's love of both tougher techno and close to the bone humour.

'Endless September' is classic Furfriend, a foundation of chest beating kicks and sub-bass provide the perfect platform for their most politically charged release to date, taking pot-shots at everyone's favourite Eastern European aggressor whilst also spotlighting the ongoing global fight for LGBT rights.

Perc is known for delivering remixes that turn a track inside out, yet keep the essence of what makes the original track great intact, with his remixes of Factory Floor and Daniel Avery being recent examples. Here he does it again, as the key vocal message of the original mix is looped to infinity over jabbing kick drums and a snare drum volley sharp enough to cut through any sound-system.

Next up is L.I.E.S. / Avian artist Vapauteen (AKA Shawn O'Sullivan & 400PPM), who adds his own spin on the track, keeping the tiniest fragments of the original's vocal and building two completely different analogue environments around them, serving up the most experimental tracks on the release, but which also perfectly compliment the more club focused mixes...

Some words from the man himself on way he chose these tracks: Make Me Feel: Classic disco track from Sylvester. Always gets the dance floor completely pumped. Love2Love: I love everything that Donna and Giorgio have done. Love To Love You Baby is definitely a big favourite. Just wanted to put my spin on it. Great vibe for the early hours of the morning. He's Mine: One of my favourite R'n'B tracks from the 90's given some LNTG muscle.

Lopasura again delves into picturesque soundscapes drenched in emotion and melancholy, illustrating a typically dystopian setting for its latest offering. The A-sides opening track by Mark Forshaw is lean and mechanical in its make-up with an off-kilter combination of thick, stuttering bass stabs and percussion; creating a rather menacing undertone.
As a stark contrast, 'In the Smoke' by The Acid Mercenaries is a nine-minute tracky, steam train of clean and crisp scuttling hi-hats and razor-sharp percussion that dance around the relentless 303 acid line and beautifully soft 808 kick to devastating effect. On the flip side, a thunderous bass drum and freakish electronics stalk the discordant and arpeggiated synth that opens 'Hierarchy of Heritage', evolving it into some kind of hellish themed marching tune for the underworld. Frey then rounds off the EP with a typically rugged yet deliciously intricate piece with Gdn, effortlessly maintaining an intelligent groove throughout.
'Connect Four' is a rather fitting title for this EP, given the undeniable chemistry between all the tracks in how a story is told and tension is created; as Frey has done with the two previous Lopasura releases. The introduction of three debut artists on this release has paid off however, nestling comfortably into the label's aesthetic without compromising on the quality.

Their release on Kompakt at the tail end of last year was a big record for me and this follow-up has been getting incredible reactions in my sets. We're excited to bring it to you on Systematic as our #99 and keep a look out for the limited white transparent vinyl. Enjoy." - Marc Romboy

Monika Kruse - 'Rainer and Namito are two of the nicest guys in this business plus good producers! Well done again! Will play all.'

Kiki - 'Machine funk freakout! Should be a big one, as the last one!'

Huxley - 'Zick is a flipping MONSTER!! AHHH YESSSSS!!!!'

Claude VonStroke - 'it's a great record. I've been playing it for like 10months already.'

ZDS (Zombie Disco Squad) - 'Zack sounds like a chilled out Vitalic. I like it and will be giving it a spin.'

Sinden - 'These are fun tracks, also really liked their Kompakt release. Can't wait to play these.'

Tom Findlay (Groove Armada) - 'Well I absolutely love both cuts.....its everything you'd ever want from a Systematic release and more.'

Justin Martin - 'Zack definitely sounds like a fun track to me.. Looking forward to trying this one!'

An intriguing project by singer, composer and multi-instrumentalist G.T. Moore, he of G.T Moore and the Reggae Guitars (first album 1974) fame, he of the folk group Heron who recorded their first album in a field by the Thames in 1970, he who recorded on Lee Perry's final album at the Black Ark studio 1980, also was a part time member of Radical Dance Faction and who's done session work with the likes of Johnny Nash, Joan Baez, Poly Styrene and more.
*Fast forward to now: G.T. collaborates with the Lost Ark Band creating some beautiful shimmering, dreamy, deep phaser-laden sounds giving more than a nod the aforementioned Perry's studio from way back then.
*Features two compositions - `Be True' and `One Two Three' - the latter originally recorded with Heron - with respective dub versions playing at 33 and weighing in at 25 minutes.

WAX CLASSIC is a brand new SKYLAX Sub - label.For our 10th release, we give you the opportunity to grab 4 fantastic trax done by one of the best deep house producers in UK right now : OLI FURNESS !Oli had underground electronic music firmly embedded into his life during the early warehouse scene that thrived in Manchester during the 90's, the sounds of Detroit and Chicago filtered through to the UK and his love of all things house was born. Fast forward a decade and Furness has obsessively built up a strong collection of analogue hardware and is now steadily building a legacy of his own analouge drenched and intelligent House music."Sklyax has been a hugely influencial label for me growing up, some of my hero's reside on this label so its an honour to be able to sit beside them with this release

There are many ways to move forward as an artist. You can reinvent yourself, keep track of fashions, or try bold new things. Tom Trago has spent the best part of 10 years pushing his sound in impressive new directions. Yet on his new album, the well-regarded Amsterdam-based producer has done things slightly differently. This time round, his influences come from much closer to home, and he has admitted to being inspired by the dancefloor-focused style with which he made his name.

Welcome to The Light Fantastic. We're sure you'll enjoy the trip.

Trago is an old hand at this kind of thing. Back in 2009, his debut album, Voyage Direct, impressed with its warm, disco-centric blends of full-throttle deep house and boogie-influenced synthesizer funk. He cast his net wider on 2011's Iris, choosing to work with a wide variety of international collaborators on an album that laid bare his myriad of musical influences.

On the Light Fantastic, he's decided to 'step back to move forwards' with a warm, involving set that puts the simple pleasures of the best dancefloor moments at its heart.

'I tried to go a bit back towards the style I was doing on Voyage Direct, so dancefloor beats with deeper impact,' Trago admits. 'I was trying to male tracks that work on the dancefloor, but also move your heart.'

In some ways, The Light Fantastic is Trago in 'back to basics' mode. Partly inspired by his ever-increasing travels around the world to DJ, it melds together a range of influences - deep house, vintage synthesizers, classic boogie, disco, Chicago jack, acid house, and even a dash of full-throttle rave revivalism on the raw funk of 'The Elite' - on a set that sounds like it was painted in vivid colours by an artist at the top of his game.

'I'm like a professor in a lab, trying to make little ideas work,' Trago enthuses, warming to the theme. 'The tracks are all there in my head, like a puzzle, and I have to make all the pieces fit together.'

The 'back to basics' theme extended to his choice of collaborators. Whereas Iris was notable for featuring an impressive cast list of international singers, musicians and producers, The Light Fantastic is more of a homegrown affair. While plenty of people lent a hand during the recording process, they were trusted locals from the Dutch electronic music scene, rather than outsiders.

'This time, I thought 'whoever walks in the studio can get involved',' he says. 'If they walked in, they could sing, play some synths or do some mixing. A lot of people came to hang out and ended up lending a hand. It's a much more fun way of working than sending your track to somebody across the other side of the World.'

There are many collaborations on The Light Fantastic, but listen out for contributions from Steffi, Ben Westbeech, 'studio neighbour' San Proper, Makam, vocalist Holly Wood and, most surprisingly, a local club owner who just happened to swing by the studio. 'Using my friends was a big part of the process,' Trago admits. 'One of the points of the album was using people who were close to home, part of the family almost.'

It's an approach that definitely paid dividends. Certainly, this celebration of Amsterdam's blossoming electronic music scene adds a little extra frisson of excitement to The Light Fantastic's impressive vibrancy.

By the time the rush-inducing positivity of 'The Wrong Right' gives way to the mutant alien funk of album closer 'Desire', you'll be ready to listen to it all over again. That's the thing with The Light Fantastic - it's a trip you'll want to take again and again.

Tigersushi surprise us and drop a new 12" from label boss, Joakim... 2 Gloriously Produced Tracks, As Usual...!
Almost 2 years have passed since Joakim released Nothing Gold. Not that he's been lazy. Those 2 years have probably been the busiest for the tall Musician/producer/DJ/label manager who produced numerous bands in his Fountain Studio in Paris (Zombie Zombie, Montevideo, Alba Lua, Acid Washed and more...). Joakim also did a few remixes (Aeroplane, Charlotte Gainsbourg, Lescop, Arsenal, Renaissance Man...) ans recorded a collaboration EP with Kindness that was the debut release on his new label Crowdspacer. Not to mention the constant touring, running Tigersushi records and a move from Paris to New York city!

Since Joakim has 4 hands, he also managed to start recording some material for a new album between 2 recording sessions and just before he had to move his studio out, he finished those 2 tracks : the slow, claustrophobic but hopeful « Heartbeats » and « Another Light » which brings that subtle typical melancholy to the clubs.

Now Joakim is setting up a mini home studio in his flat in NYC, somehow going back to his roots when he started making music at his parents house with a cheap keyboard more than 10 years ago. Usually in the music business, artists release a first single once the album is finished and start a promo campaign from there. But Joakim doesn't really understand the music business (don't tell anyone!), so he decided to release those 2 tracks without having any more finished material for his upcoming album nor an idea of what it will be like. In those times when everything is instant, he'd rather release new material leading to an album while the tracks are finished. Just like a work in progress you will witness an album taking shape before your ears.
This is a way to bypass the traditional rhythm of an album launch when everything needs to be done and ready months before the actual release, which usually results in the author being already bored and working on something else when the music comes out.

New release from the mysterious Ex-Pylon on Studio Barnhus. Shakes is a twisted, noisy 12 minute techno epic with razor sharp drums, acidic basslines and a daredevil breakdown, while Helmet comes correct with swirling pads from outer space and a deadly groove from deep within the core.
Some selected feedback:
Agoria - i looooooooooooooove helmet so much!
Catz N' Dogz - LOVE IT MORE THAN POLAND
Dave Aju - cool and trippy tracks... 'helmet' is a cosmic space jam!
Deetron - This is so so good, exactly what I needed! Lovely use of the samples in Shakes and Helmet reminds me of Co-Fusion, great EP!
Ewan Pearson - Shakes is great!
Ivan Smagghe - huge
Jacques Renault - Helmet is cool, I'm going to test it out for sure.
Jimpster - Another slice of gorgeous deepness! Both tracks are double heavy and going to be getting plenty plays. Nicely done!
John Talabot - loving shakes!!! SB love
Josh Wink - out there release. fresh and i like.
Robag Wruhme - Download for Robag /Robag's mom
Sandrien - Shakes is a cool trip!
Superpitcher - super!!
Tim Sweeney - Yes to techno!

Six years have passed since the last album by Andi Otto alias Springintgut, ("Park and Ride", City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His "Fello" is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, "Where We Need No Map" Otto takes the "Fello" to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like "Ka- mogawa Cycling" and "Western Kyoto". In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in "Bullet" one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of "Where We Need No Map" points us to unknown territories. The journey itself is the reward, let's listen!

Sechs Jahre sind seit dem letzten Album "Park and Ride" (City Centre Offices, 2007) von Andi Otto alias Springintgut bereits vergangen. Diese Zeit hat der Pingipung-Mitinhaber genutzt, nicht weni- ger als ein eigenes Instrument zu erfinden: das "Fello", ein Cello mit Bewegungssensoren auf dem Bogen und einer dazu gehörigen Soft- ware. Die Grundlagen dafür entstehen bereits 2007 am STEIM in Amsterdam. In der Folgezeit gelingt es Otto, das Instrument immer weiter zu verfeinern, mit unterschiedlichen Künstlern zu kooperieren und international aufzutreten. Für "Where We Need No Map" trägt Otto das Fello erstmals ins Hamburger Studio und nimmt unzählige Sessions auf, in denen die Gesten des Bogens direkt den verstärkten Sound des Cellos verändern und neu formen. Diese Fello-Sitzungen werden anschließend editiert und mit anderen Ein- flüssen vermengt, die von Skweee über House bis hin zum Jazz reichen. Der Markenzeichen-Sound von Springintgut, diese ureigene Verspieltheit, ist weiterhin vorhanden, gewinnt durch das live-pro- zessierte Cello aber eine bisher unerreichte Tiefe. Weitere Farbe erhält das Album durch Ottos zahl- reiche Tourneen in ferne Länder. Zwei Stücke ent- stehen in Indien. Die Stimme von "Bangalore Kids" ist eine Feldaufnahme eines Schuljungen im Cubbon Park in Bangalore. In Japan verbringt Andi Otto drei Monate als "Artist in Residence" in der Villa Kamogawa in Kyoto. Während dieser kon- zentrierten Zeit entstehen die ruhigeren Tracks des Albums wie "Kamogawa Cycling" und "Western Kyoto". In Sri Lanka lernt er dann Sasha Perera kennen, die Stimme von Jahcoozi. Sie nehmen zwei Songs zusammen auf. Vor allem in "Bullet" kann man der faulen Nachmittagshitze nachspü- ren, in der die Stücke entstanden sind. So lassen sich die vielfältigen Entstehungspunk- te von "Where We Need No Map" zwar karto- graphieren, aber der Sound des Albums schickt einen trotzdem in unbekanntes Terrain. "Der Weg ist das Ziel, frag nicht viel, hör mal..."

It's been a terrific year for KOMPAKT boss MICHAEL MAYER, who released his sophomore album 'MANTASY' (KOMCD100/KOM250) - the eagerly awaited follow-up to his seminal album debut 'TOUCH' (KOMCD36/KOM107). 2013 is shaping up to be equally busy, with an ongoing worldwide DJ tour, the label's 20th birthday and now the first EP of 'MANTASY' remixes. 'MANTASY REMIXE 1' is the first entry in a series of three, featuring a stellar cast sure to push any dance floor over the edge.


Up and coming producer and core family member of the Cómeme family - PHILIPP GORBACHEV is no stranger to Kompakt, and he delivers a slashing rework of adrenaline-fuelled synth fest 'VOIGT KAMPFF TEST'. This Berlin based Russian has had a tremendous career launch thanks to his excellent solo debut 'IN THE DELTA' (CÓMEME 012) and as a partner in crime releasing singles as a member of ISAAC JOHAN and THE DISTRICT UNION. Pulling out all the stops for this remix, 2013 promises to push him as a major club force to be reckoned with.

Another star in the making, Cologne's BARNT had an equally strong run in the last months with in-demand releases on Magazine, Cómeme and Mule Musiq: his track GEFFEN (from - The Power Of Now', CÓMEME 013) is easily one of the most recognized club singles of this year. He also tackles 'VOIGT KAMPFF TEST', dialing things back a bit, but only to reinforce the air of sheer magnitude that oozes from every single note. Delving deeper into his trademark Kraut Techno approach, Barnt replaces the original's thrills with creeping tension and reaches a new understanding of what the prime time should sound like.

THE MOLE is well-known for his heavily sampled, organic loopiness having a special place reserved in nearly every DJ's record crate, but this beat-driven. remix of Mayer's beatless masterpiece 'BAUMHAUS' sees the producer refining his approach, as he takes the original's evocative expertise to new heights of grooviness. It's not just a case of 'let's put a beat in there and we're done', but a fundamental rework eliciting hidden properties and finding a new perspective on an already perfect slice of music. A personal favorite of many Kompakt aficionados, 'Baumhaus' finally gets the club treatment it so clearly deserves.

Special tracks have a special story behind them. And this one certainly does. After Mario & Vidis recorded a couple of tracks with Ernesto for their debut album Changed they invited him to perform in their home country. During his short stay in Lithuania Ernesto performed two times and both times closed his set with a track called Care. It was kind of a mash-up - Swedish singer & songwriter was using lyrics of his old song to sing over Metro Area's classic Caught Up to a big effect - leaving the packed dance floors to a sing along to lyrical hook of 'sisters and brothers, smokers and lovers, care for me' every time. Big fan of Metro Area's sound Vidis offered him to do a reversion of this mash-up using Caught Up as a reference and inspiration. The vocals were re-recorded, new arrangement was done, and the song was tested in the clubs as well as live on stage. So here it is - another big tune from the three to sing and dance along

supported by: Timo Maas, Seth Troxler, 2000 And One, Nick Curly, Audiofly, Nic Fanciulli, Marco Carola, Mathias Kaden, Steve Lawler, Michael Reinboth, Milton Jackson, Adam Port, Chris Tietjen, Raresh, Davide Squillace, Joshua Iz, Federico Molinari, Lauhaus, Shinedoe, Luca Bacchetti, Meat, Gavin Herlihy, Simon Flower, Julietta, Monika Kruse, Anthony Collins, Simon Baker, Arado, Todd Bodine, Fabrizio Maurizi, Ralf Kollman, Paco Osuna,
Martinez, our man from Copenhagen, saw great success last year with his album "The Paradigm Shift" and with his tight, rolling-house sound becoming a distinctive trademark.It's taken almost a year to collect all the remixes of "The Paradigm Shift", but it has most definitely been worth the wait. Moon Harbour boss Matthias Tanzmann has rounded up an illustrious group of remixers, including the winner of a very successful remix contest done in collaboration with Juno Download.

vol.2 of remix package is done by norway disco king prins thomas.

In this release, the hamburg duo, shows perfectly how deep driving house should be done.

Slap - one of the most obscure and forward thinking acts from the early 80s meets the spearhead of today's electronic music, Ricardo Villalobos. The originals are disturbingly brilliant electronic excursions, while Villalobos' jazz-fueled rework is one of the deepest mixes he has ever done.

First release of this new EXPLOSIVE RECORDS sister label: JUMPING IS NOT A CRIME! DJ ERIK 2K offers a superb jumpstyle production based on the all time classic 'On the Move' by Barthezz..In total 4 powerful (re)mixes which will set fire on all jumpstyle floors, very well done!

Christian Linder is from Germany and except from our own Hardfloor boys, it has been a long time since a german producer hit our landscape, mostly because we are not trendy but most of the time because we can't stand minimal the way it is done nowadays.