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Berlin-based producer SDX drops an album entitled 'Nocturnal' on Sophia Saze's Dusk & Haze featuring remixes from TXTRL founders 138 and Shipwrec producer SC-164.



Georgia-born, Brooklyn-based Sophia Saze set up Dusk & Haze to release 'genre-free' experimental music, exhibited in the label's debut release entitled 'Solace' EP featuring four versatile cuts from Sophia herself and twisted electro and techno remixes from Umwelt and Benjamin Damage. The second release comes
from the enigmatic SDX, a masked artist who's fiercely championed left-of-centre dance music for decades. Crunchy drums and a thumping bassline kick things off in 'MS 04' before Los Angeles duo 138 provide an outstanding remix incorporating a cacophony of raw breaks. Modulated flutters, warped blips and white
noise create 'MS 08', leading into the organic drums and off-kilter arpeggios of '007' until New York's SC- 164 reworks '007' delivering a pulsating sub and distorted vocal chops.

Scion of the Urals this devotee called Gedevaan drops a notable classy non-Moscow sound. The city where music can be fake, where anyone can lie to you, where anything can be sold and re-sold for a higher price. Where constantly you suffer from major vanity and notorious capital speedy manner. Moving to that town may change you with no warning. 'Class Compliant' is more about authentic slow-burning undercurrents. Smells like 'rest of Russia' the noise is out of massive roaring cities and their pre-harsh dummy lives. Inclined to withdrawn and introspective synthesis Gedevaan offers an original dim-light feel, warm-wet, woody swamps and mossy rocks. A velvet haze makes your vision blurry. Just look! Is it a Baba Yaga's hut Track the music. To don't forget about your roots. It's pretty nice to accomplish with old stuff by Perc and a brand new one of Electric Rescue - the pure primal perception with a high impact factor.

5 catchy tracks by eighties bristol outfit Umo Vogue Umo Vogue formed in Bristol by Stig Manley, Russ Crook and Neil Deamer who were in Bath based ska rock outfit 'The AT's', along with Bristol based singer Debbie Marlow. Neil's Brother Clive joined the band bringing a fantastic new dynamic to the band on drums, percussion and heavy artillery. The band name is a deliberate misspelling of the ultra-chic Italian fashion magazine 'L'Uomo Vogue'. After winning the Bristol 'Battle of the Bands' in 1982 they were signed to Phonogram and dropped a few months later. They then signed to EMI in '83 and released their first single 'Just My Love' released in early 1984. The second single was 'Make It Real' and was never released as the band were culled from the EMI roster in late '84. For this reissue of their debut single we've added 3 bonus tracks, a demo of 'Just My Love', the unreleased follow single 'Make It Real' and a bedroom demo 'Erotica.'

Each song displays ridiculously catchy melodies and innovative electronic rhythms. The drum tracks, a combination of rhythm machines and hand percussion, were mixed down from the 4-track tape used as backing on stage, with the rich slap bass and Roland SH09 synths weaves fluid lead lines in between the harmony vocals. All songs have been remastered by George Horn at Fantasy Studios. The record is housed in an exact replica of the original jacket and includes an 8-page booklet with photos, notes and press clippings from the band's archive. 'We're synthetic but not antiseptic. We are interested in the naivety and spontaneity of music.' - Umo Vogue

Harlem's legendary Disco label Queen Constance has long been a cult favourite among fans of underground dance music for decades.

One of many labels operating under the equally legendary P&P family of imprints Land Of Hits was operated by one Peter Brown, a truly colossal figure in NYC's music scene, it's catalogue still fascinates music lovers to this day. Covering a wide range of styles including Gospel, early Rap and Disco the label's output continually finds it way into the playlists of respected DJ's and selectors across the globe. Mistafide's colossal old-school rap behemoth 'Equidity Funk' has long been a record that makes the serious collectors salivate and is now here in full 12" form repress, too legit to quit.

Not much is known about the crew behind 'Mistafide', their government names are listed online but this is the only record they put out using this name. Suffice to say, this has no impact on the fury and style with which the MC's deliver their raps, backed with the studio nous of impresario Peter Brown. Across 12 minutes 'Equdity Funk' is a slamming Disco-rap monster, interpolating elements of the evergreen B-boy jam 'Theme From SWAT' it sounds like everyone just got into the studio and went for it. In the style of the times this is the real hip-hop flavour, a live band, some MC's and some death defying bars being dropped, proper old school. A truly rare recording, 'Equidity Funk' has been one of those records fans of the Disco-rap era have been fiending for for decades - often commanding prices over the $1000 mark you can now grab this slice of essential NYC street Funk.

This is a 100% legit reissue, made in conjunction with Above Board distribution and the Demon Music group, remastered with love by Optimum Mastering, Bristol UK.

Bergsonist is the moniker of Moroccon born and NYC based Selwa Abd. 'Solyaris' follows the self-released '' and a prolific slew of releases for labels such as Styles upon Styles, Borft, and Angoisse amongst others. For Selwa her uncompromising & otherworldly, hypno technoid creations aim to capture a given moment in time, contextualising her often direct, hugely affective, & unpolished approach to production.

Selwa describes 'Solyaris' as 'an ode to the present broken education system that allowed me to sustain my dreams in NewYork', explaining, 'As an immigrant from Morrocco, I felt always fearful of the future, pressured to succeed at school. The only way I was able to channel all that anxiety was through music'.

There's a undeniable physicality to Bergsonist's work, and the idea of expunging anxiousness into her music is felt from the oft as 'Solyaris' strides into vision with it's quickening roaring pulse and scrambled explorative electronic probes. This sense of anxiety eases as layers of rhythm build - heads begin to turn down and lush minimalist swathes eventually envelope bodies in calm unity, Anxiety diverted.

'Conflict in Yeman' opens with a gambit of off-kilter percussive experiments & electronics, conveying a sense of determined urgency. Things grow more & more intricate & immediate as we progress - layers of disruption weave around a reoccurring 140BPM shuffle, anchoring Selwa's constant explorative concrete diversions.

'Former Alien who has been naturalized by a U.S Citizen' brings things down a notch - skittering drums linger below a truly haunting whispered melody, occasionally broken down by collapsed rewinds and thunderously raw in the red beat grit - to dizzying effect. Whereas previously 'Solyaris' had taken its cues from Drexciyan Detroit Electro 'Former Alien...' stands closer to a Fantastic Damage era EL-P instrumental rather than anything aimed at the floor.

The EP rolls out with 'Fidel Gastro', a structured & focused piece of Machine Funk & end of days drop cues, conjuring an effective mix of both euphoria & imminent dread.

Bergsonist cuts a unique figure for electronic music in 2018 as someone explicitly exploring the relationship between head & body music. Although undeniably more than oft aimed at the dancefloor, Selwa's work also holds an equal respect and understanding of the head & heart. From her politically loaded Track titles, to her ideologically aligned guise of 'Bergsonist', to most significantly - her music's ability to elicit a spectrum of finely tuned emotional responses within the confines of each track

Fresh from touring with Hugh Masekela ( The Boy's Doin' It'), Gboyega Adelaja goes into the lab to drop heavy keyboard science on his Moog and Fender Rhodes. Its Joe Sample meets the Afro Funk of BLO. With names like Jake Sollo on guitars, Mike Odumusu (BLO, Osibisa) on bass guitar and Gasper Lawal on percussion. This is a top quality, Afro-Funk, all-stars affair that shines from the inspired interventions, masterly arrangements to the sublime production.
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Additional Notes:

I was already following Hugh Masekela when I met him, he was an outstanding musician and I knew of his collaboration with
Hedzoleh, that band brought him nearer to many of us, because he was playing authentic African melodies with the Hedzoleh
sound which was mostly percussion oriented. Yes I knew about Hugh's music before I met him. Infact when we started playing
together, he insisted that I stay with him in our three bedroom apartment, other members of the band had their own apartments,
but Hugh and myself shared the same 3 bedroom apartment'.

We were touring, under Casablanca owned by Neil Boggart, we toured as professional musicians, flying to our gigs. There was
a time when we were touring with George Clinton and Parliament Funkadelic we had two luxury buses deployed for our use.
We made many friends where ever we went to play, we met many big and popular musicians who came to watch our shows, the
Spinners came to see us in Detroit, we met Wayne Shorter of Weather Report, Freddie Hubbard, we played a gig with Herbie
Hancock at the Carnegie Hall New York City, we toured almost all the 50 States of the US.'

Kevin Murning is a musician, producer and DJ from Cape Town, South Africa. He describes his music as fake jazz, probably because he dropped out of jazz school. At 23 years old, Kevin's music is youthful yet precise and his debut EP offers an intriguing cross-section into his varied musical experience to date. The release comes out via Cape Town based imprint, Quit Safari, home to some of SA's most exciting producers.

Kevin's debut comes in the form of a 5-track EP called Mode's Arp. Comprised of 3 originals and 2 remixes, the release serves as a dual functional one with tracks for home and club use. Taking 2 years to fully complete, Mode's Arp is a wonderfully considered body of work and speaks volumes about Kevin's talent and his ability to create music that is beautiful and banging. Both Kevin and Quit Safari label head, Zanasi Wifi, are on remix duty for the EP, taking the originals and recontextualising them into high octane percussive workouts.

DJ support already includes The Maghreban, Turbojazz, Severino, Laurent Garnier, Mystic Bill, Edmondson and more.

A fresh iteration of the mid-eighties LP (itself a compilation of recordings from the previous five years or so), replacing two tracks — Dancing In The Rain and All Things — with their full 12' versions.This is a deeply personable, expert, limber blend of roots and lovers, kicking off with an exclusive mix of the deadly Mash Down Babylon; dropping classic, lush, spaced-out Wackies dub science to close; and taking in reworkings of Lickshot, Billie Jean and The Righteous Flames' I Was Born To Be Loved, along the route.The moniker 'Chosen Brothers' is Lloyd Barnes' spiritual way of sharing the credit for his solo projects. "Anyone in the studio at the time could be a Chosen Brother,' he says. In this case a full crew includes Sugar Minott and Prince Douglas at the desk; Jah Batta, Milton Henry, Wayne Jarrett and Junior Delahaye all on backing vocals; and such dream-team Bullwackies instrumentalists as Clive Hunt, Jerry Johnson, Fabian Cooke and Ras Menelik.

The long awaited answer from the notorious southern-hemispherian sound system, Subtle Sound System. This debut release from their record label aptly named Subtle Recordings is bringing some heavy weight straight out of Christchurch, New Zealand, first up with local legend Headland. Exquisitely imprinted 'no holds bar' by the masterful Optimal Media in a full art sleeve, this 180 gram, vinyl only, no-repress recording superbly ushers in a new beginning for the sound system and is another pillar of foundation to the future sound of bass music.

Headland, with his atmospheric soundscapes, sparatic drums, jarring percussion and punishing basslines, has been taking his unique sound to the world for the past few years and has sequentially been picked up by some of the most forward thinking labels in the bass music scene. From notoriety like Innamind Recordings and Zam Zam Sounds, Headland is one of the most noteworthy artists on the scene today and is a staple in sets from artists including, Samba, Mala, VIVEK, Commodo, Sleeper, just to name a few. Headland's infamy continues on Subtle Recordings debut release with the two outstanding tracks, Quiver and Deathbed.

From a spacious beginning, Quiver quickly builds pressure, manifesting into a track that by the end of, you'll have to regroup your crew as all would have been taken on their own solo journey. Navigate through high level percussion, sonic stabs, sub-temperate basslines and menacing vocals, all encompassed within a 130 bpm landscape where the richters leave you feeling vulnerable and insignificant. Quiver is a force of nature not to be taken lightly. After setting the stage, this behemoth pushes to another level, with erratic note changes and misplaced beats, before opening up to a plateau of relative safety within rolling basslines and familiar haunts. Recollecting yourself, you are once again thrust into unknown territory. A barrage of death blows commences until eventually you find yourself on the other side, disorientated, demoralised, but thankfully unharmed. With support from dons like Gantz, Boofy, J Kenzo, Mr K, Quiver has begun to leave its mark through the next frontier of bass music.

A usually silent, still and chilly affair, Deathbed is anything but, with its uplifting groove, conscious beat scape and warm bassline. But don't get too cosy, cause this assortment of frequencies is cold. Foreboding basslines. Wholesome mids. Trademark Headland accents. Deathbed builds in monumental 140 bpm splendure, in a simplistic formation, that will have you calling home to tell Mum of your triumphant return. Bask in all the glory as the track sheds back into its essential ingredients before collapsing into a well rewarded breakdown. Another confident drop will re-immerse you within the ride, reminiscent of what has been conquered and celebrated in the dystopian sound Headland has crafted in this atmospheric masterpiece. Banging dancefloors worldwide by artists like, Commodo, VIVEK. Deathbed produces the goods for an old fashioned shelling.

Fernando Sanz has been steadfastly dedicated to the craft of beats and breaks since he was a young sprout of 14 years in the sun baked southern Spanish port city of Algeciras. Under the imprint Orbe Records, Sanz has cultivated his own thriving techno community as artist and label head. Since 2014 Orbe Records has been lashing the block rocking techno of Sanz's comrades Eduardo De La Calle and Steve Stoll, but mostly of Sanz's own prolific moniker, Orbe. As DJ and producer Orbe keeps the mood surreal and dreamy while deploying understated drum machine patterns to hammer the platonic solids that keep his beloved community in tact.

His forthcoming 3-track 'Hohenheim' EP for the Barcelona label, Lone Romantic, keeps the Orbe buzz rolling. 'Hohenheim' kicks the record into motion with the resounding thuds of a multilayered big-room kick while bright synths and sharp edged sci-fi machinery climb the walls in obscure and narcotic patterns. 'Shimano's Tribute' is a study in the fundaments of techno that lull the listener with an extended 4X4 intro into a state of high mental absorption, just in time to drop the centre piece of the track, an eloquently ovular stutter sliced percussion sample. 'Edelweiss' sets the record on a outward course for somewhere between the hypnotic dance floor bliss of a pre-dawn Sunday morning and the impending angst beholden to glimpsing the dystopian sprawl of civilisation when flying out Monday morning.

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.

Legalize Lambada step up for their 4th outing with four delectable afro disco edits from Sputnik.

'Superlove' see's Sputnik channel a South-African take on early garage house before melting 'Feeling Fine', the reggae tinged, afro boogie gem.

On the flip side, 'Groove Me' unearths some feel good Cameroonian disco gold complete with killer guitar solo, whilst 'Rick' closes out the e.p. dropping the tempo for a synth soul, slow jam.

With early support from Hunee, Lexx and the likes, LEG004 is shaping up to be one of the summers standouts.

GMT (Phil Moffa, Guy Gerber and Seth Troxler) heads of the A side with a bang. The haunting strings of the original wind their way through drums reminiscent of jacking 90's house before the
drop of the classic Decompression bassline, chopped and spliced sure to make your mid section feel nice.
Mike Shannon touches down with a modular synth rework that takes the original and twists it into a modern acid trip and groove signature of his programming style. Like surfing a spaceship through a technicolor wormhole to planet funk.
Deadbeat shows his strength with a spaced out dub version. A master of his craft he delivers a reverb drenched, morphing grove that will transport your head to an indica haze.
Natalia Escobar stretches the pulls the track into an intense ambient time machine. This escape into the 5th dimension will induce shivers down your spine and make your 3rd eye burst into flames.
We hope you enjoy the work of these talented navigators! Safe travels :
Volume 3 is still to come and will feature DJ Rush, DJ Sodeyama, Quenum and S Katz (a.k.a.Katsuhiko).

The Mysterious Love Drop Continues His Homage To The Classic Raw Sounds Of Days Gone By As He Drops An Anthemic And Pounding Slice Of House Music For Home Taping.
With His Trademark Moody Grooves And Heavy Delays He Builds A Vibe Which Is Guaranteed To Set Any Dance Floor On Fire.
Keeping It Raw And Proper With A Generous Pinch Of Soul And More Than A Touch Of Badass, Love Drop Just Moved Things Up To The Next Level. Less Is Definitely More As He Destroys The Floor.

On The Flip, Dicky Trisco Plays To The Emotional Strength Of The Original And Delivers A Highly Polished Heads-down, Dubbed Out Version For The Club.
While Rising Star Of The Scene Dan Shake Raises The Tempo And Treats Us To A Raw And Funky Workout To Complete A Very Fine Package Indeed.

Free Your Mind And Love Drop Will Follow.

* 7" vinyl
* 300 copies
* Featuring Planet Asia (Cali Agents)

2 songs on a limited edition 45 - 300 copies, all straight SP1200. Both songs featuring Planet Asia with one of the tracks featuring one of PA's friends Waz on the hook.

Fredfades & Sun Raw are keeping alive the gritty, analogue sound with 12-bit drums and loops but with their own unique style. Fred has been working with KingUnderground for the last 3 years and has a flock of releases. Sun Raw from Stockholm, Sweden is new to the crew but about to drop his debut "Beat Weeks". The duo are both part of Mutual Intentions crew and find inspiration from old music, from Jazz, funk, soul, rock and anything they find in the crates.

Planet Asia has been affiliated with KU from early on with a release and some features. Some MC's have been left behind, Asia isn't one of those. He's been kicking out better and better verses since he first showed up on the scene in the early 90's and it doesn't look like he's stopping anytime soon.

Brothers Harvey and Ryan McKay return to Drumcode with their dynamic Alias project. We were introduced to Alias last year when the McKay brothers dropped the impact-heavy 'Visions' EP mid-way through 2017. The duo followed with a lauded contribution for Drumcode Live and the buzz from fans was palpable. The follow up sees the pair in powerhouse form.

The title track 'NRG' is an attitude-packed tour de force; compromised of aggressive snares, warped vocals and a tension-filled break, it has been smashed by Adam Beyer for the last six months. 'Orange Sunshine' pulls no punches as it dishes out apocalyptic acid paired with the sibling's startling drum work.

'The Event' rounds out the EP and is an exhilarating affair propelled by uplifting synth lines and a buzzing energetic bassline.

Remastered for 2025

Drumcode has become a label synonymous with some of the most-cutting edge and forward-thinking techno over the last 20 years. Their artists include both emerging and established names, and one of those well recognised is Enrico Sangiuliano. Now announcing the very first concept album of his career.

iomorph is born. A very special concept album designed to take the listener on a journey of evolution. A musical adaptation describing how biological and technological advances over numerous generations of time have all started from the same first step in our own biological journey.

Divided into 4 parts, Organisms opens with atmospheric tones, gradually blending complex textures and timbres to begin the evolutional process. The beginning of this section combines full sounding arrangements before stripping it all back to basics. From here it dissolves into the atmosphere. Organisms then progresses into a break-beat influenced, down tempo track using synths to add complexity to the straight, broken rhythms.

Galactic, futuristic elements are found in both tracks in Cosmic Forces. Upbeat, groovy, electronic synths resonate, before 'Hidden T' brings the tension to get things pumped up with stratospheric swirls and twirls to lay down one of the most mind meltingly deep drops.

Metamorphosis is mysterious, its opening beat is a deep and piercing tone that sends the listener into a sensory awareness of their surroundings before breaking into a fully charged, techno track, with Enrico's trademark sounds and textures.

All evolution has an ending.

Two Probabilities shows the positive, starting out evocative and emotional, with a gentle harmony, gazing towards a 'New Dawn'. On the other side of the spectrum lies the negative. This is influenced with a rhythm that articulates the beat of death, mathematical, cold and metallic in texture, it shows the unsustainability of its nature, with a hectic, anxious break beat influenced ending.

One of the world's most iconic drum & bass acts, Pendulum have announced their return for 2018 with a brand new album and brand new live shows. 'The Reworks' is a project unlike any
other released by the band before, and marks the end of their seven year hiatus, officially launching on 16th March.

To mark their return, the band have announced their first headline show since 2011 at London's unique new space, Printworks . The show sold out in under an hour and will be both an auditory and visual spectacle for fans.

Also announced is Pendulum's return to one of the UK's biggest events - Reading and Leeds Festival . Headlining the BBC Radio 1 stage - the same slot they graced the last time they played in 2010, the shows mark a welcome return for the band in the UK.

The news will undoubtedly be well received by Pendulum 's legions of fans, with the band having hinted at a comeback by returning to the live stage last year, headlining the UK's South
West Four and Nass Festival , and confirming for this years Snowbombing festival in Austria.
For 'The Reworks' , the internationally-renowned band have tapped some of the most innovative talents from over the past few years to deliver dynamic and refreshing interpretations of their
biggest hits and some of their personal favourites. Friends and collaborators Skrillex , Icarus ,Knife Party and Matrix & Futurebound take their turn on this who's who of electronic music
royalty, whilst Noisia 's explosive cut of the now-iconic track 'Hold Your Colour' will be available with the album preorder from the 16th March.

'The Reworks' album will be available in both CD and vinyl formats from the 29th June.

This exciting announcement marks the beginning of a new era for Pendulum , who have long been considered one of electronic music's most important and pioneering acts, famed for their
no-holds-barred live shows. With more huge festival dates TBA across the summer and new originals on the horizon, 2018 marks the an exciting chapter in Pendulum's already lengthy career.

Noisia' s remix of ' Hold your Colour' , the first single to be taken from Pendulum 's 'The Reworks' album, is set for release on 16th March alongside the preorder, with the full album set to drop on 29th June.

L_cio DOC Records welcomes L_cio for a beautiful full-length album entitled 'Poema'.

L_cio is a Brazilian artist who brings his own flute playing to his music. He has previously collaborated with the likes of Portable on the huge hit 'Surrender' and is a live act who has held residencies at plenty of key clubs in Brazil. He's also toured all over the world from Egg London to Robert Johnson in Frankfurt and released on labels like Perlon, Soul Clap Records and D.Edge. His eight-track album is an emotive affair with deep house grooves embellished with his own spine tingling instrumentals and flute.

'Paqe' kicks things off with five minutes of springtime sounds and fluttering flutes that carry you off into clear blue skies. 'Canto' is more driving, with crisp drums and synth stabs all getting you into a groove. 'Forte' then drops into techno mood with powerful kicks and busy snares then 'Complet' re-sets with two minutes of blissful flute lead ambience that is utterly calming.

'Poema' is another beautiful interlude with floating synths and shimmering synths and 'Avante' brings back house drums with dramatic synths and icy hi hats. 'Canto2' again blesses you out with more exquisite flutes and some melancholic organ work and closer 'Lagoa' is a dreamy track with animal sounds, flutes and languid chords all encouraging you to get horizontal. .

Continuously growing serious followers, L_cio live performances and recent releases on DOC Records ('Chico Buarque Construção Revisited'; 'Vazio'; 'Traffic'; 'People Talk'; 'Schwantes'), will definitely secure a major place in the realm of electronic music.

Beautifully crafted in collaboration of DOC Records label boss Gui Boratto, 'Poema' is a truly unique album that showcases L_cio's truly uniquess and magical sound.

Trux' Second Ep On Berlin Based Record Label Office Is A Bow To The Many Outstanding Moments In The History Of Ambient Music.
Allusions To Brian Eno Are Just As Recognisable As To The Charming Concepts Of Pop Ambient Or Clicks & Cuts.
It's Between These Poles That The Four Tracks On The A-side Oscillate And Manage To Capture The Listener
With Vibrant And Diverse Soundscapes. The Flip Side Sees Trux Drop A Stunning Melodic Breakbeat Tune Besides Remixes
By Workshop's Premier Techno Chef Lowtec As Well As A Freestyle Electronica Version By O$vmv$m. The Much Loved Super
Quiet Tops The Record Artwork Off With Another Remarkable Example
Of His Casual And Airy Black And White Photography.

As a Dutch label, we're proud supporters of the homegrown sounds of guys like Nachtbraker, Frits Wentink and Fouk. Adding another Dutchie to our list of exquisite producers, we present you 'Pitto' with his debut on Heist Recordings. Pitto is a musically omnipotent creature, venturing into deep house with the underground hit 'Richklap' on Wolfskuil back in 2012 and dreamy electronic pop with his album 'Breaking up the Static' on Sonar Kollektiv and Virgin. He has also moved beyond producing his own music, running 'Studio Stekker'; a Dutch music festival that focused on freeform creative interactions between musicians where the artists performing on the festival locked themselves up a week in advance in Kytopia (Colin Benders' synth paradise) to make new music together. Through this, he's worked with people like Kyteman, Matthew Johnson, Sebastian Mullaert and Colin de la Plante, better known as 'The Mole', who is also present on Pitto's Heist debut with a remix.

The 'Late night studio moves' ep is one of varied styles, where Pitto's inspiration from African music, jazzy and soulful samples becomes evident. He finds his 'funk' in repetition, clever sample combinations and combining electronic and live elements in the most organic way.

'Late night studio moves' finds its basic groove in an African percussive loop. Over the 9:26 minutes, the track slowly adds elements, chopped African chants and piercing synth hits. It's all really dreamy and energetic at the same time, but it is when the bass and main keys kick in, that you really feel the euphoric vibe of the track. The Mole chose to remix this track and he turned it completely upside down, both in vibe and tempo. His version is an atmospheric and mesmerizing downtempo track, where the percussion works in an intoxicating way and bells, birds and chants move in and out of the spotlight.
Pitto's second original track on the ep is the mesmerizing 'Treat me like a fool'. 16th hi-hats, claps on the hats, and a chopped piano loop set the mood here, but it's the vocal that steals the show. A mantra like 'You love me' builds up and breaks down into 'you love me like an angel, but you treat me like a fool'. Each time, the track builds and builds, never quite giving in to a massive drop, but instead, focuses on the stripped back soul that is the heart of the track.

'Jazz kids' evolves around a jazzy bass loop and a set of quirky African percussive elements that you could imagine Henrik Schwarz making if he were in a more leftfield mood. A syncopated synth melody filters in and out throughout the track and a basic kick and hi-hat combo keeps the energy going strong on this on.

We're proud to bring you this deep, dreamy and provocative EP by Pitto and hope you'll enjoy it as much as we do.

7"

A ludicrously rare outing from Jah Rej and the Jah Works crew appearing on vinyl for the
first time.
.*Dating from 1989, `Carrion Bird' has only previously surfaced on the cassette-only various artists set `One Foundation' released on the Jah Works label.
*A deep meditative instrumental (apart from a hint of Donette Forte's voice drifting into the mix) dropping on a moody head-nodding mid-paced rhythm.
*Backed with `John Crow' a retrained dub mix by Rej from Channel One UK studio.

* Bristol's Joker has announced he is to celebrate 10 years of his pioneering Kapsize label with a special series of new 12' Joker releases, the second of which will drop this May.

* Over the past decade, Kapsize has put out some of Joker's most defining work, including the iconic 'Purple City' (produced with Ginz) — a track widely recognised as ground zero for Joker's purple dubstep aesthetic — and 2015 album, 'The Mainframe', as well as early records from Asa & Sorrow and L-Wiz.

* To be released both on special edition orange vinyl and digitally, Joker's second commemorative release lands in the form of 'Boat / Deploy'. A-side 'Boat' is gleefully maximalist, a playful accordion running alongside searing synths before a ominous bassline drops, taking us through his vivid and embellished creative world, while the cinematic 'Deploy' is another intense and larger-than-life riddim.

* To be released in June following the release of 'Anamorphic / Forever' in April, and 'Marching Orders ft. Footsie / Polka Dot' in May'.

Norm De Plume has been quietly making a name for himself the last eight years with remixes for Tornado Wallace and Ben La Desh and EP's for Kolour LTD and his own vinyl only imprint Plumage winning him a solid fol- lowing along the way. His passion for all things disco and deep, dubby, un- derground house inspired by his musical hero Ron Hardy feeds through into his production style as well as his recently formed Peaches & Prunes party which boasts an audiophile sound system and vinyl-only sets from the DJ's. So when the opportunity arose to do a full EP with Norm we jumped at it. Here we present you with the Castlecrag EP, a nod to the Londoner's new adoptive home of Sydney, Australia, and whilst his sound may be more akin to the recent musical movements of Melbourne, the laid-back sun-kissed melting pot of The Harbour City certainly shine through in the two originals and Folamour remix on offer here.
Title track Castlecrag leads the charge with a deep mood-setter driven by a cowbell riff and filtering pads. The spacious mix and less is more arrange- ment ensures that the drums and rolling bassline punch through making for a track that sounds both unique yet accessible and demonstrates Norm's sense of musicality as well as DJ instinct for setting the right mood on the dancefloor. Next up we have Whole In One which treads a similar path whilst dropping the BPM's a touch and building up layers of synth strings to create a subtle yet engaging track to immerse yourself in. Finally, man of the moment Folamour gets busy on the remix of Whole In One working his magic by upping the tempo and going heavy on the jazz- inspired drums. By laying down a driving groove and pushing the string stabs to the fore, the Lyonnais producer behind the wonderful Moonrise Hill Material label has delivered a fresh-sounding take that will work like magic on discerning dance floors out there.

It's been over 10 years since the release of Gui Boratto's breakthrough full length debut 'Chromophobia'. As to what its title suggests, he shook up the techno game with a contrast of lushly coloured minimal grooves and melody, whilst many will recall that the album included the highlight single Beautiful Life' which became a dance floor anthem for that era. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio LP, 'Pentagram'. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar - including the return of Beautiful Life' vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload".

Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, 'The Walker' - hot on the trail of Tears For Fears 'Elemental' (one of Boratto's "favourite 80's bands") - to the hi-NRG euphoria of 'Forgotten' and its pounding tech alter ego 'Forgive Me'. "I was going into 2 different directions", Boratto says, "the typical indie- electronic-rock' Boratto kind of production like It's Majik' or Like You' and a much more techno approach." He goes on, "I decided to split them into two twin sister songs. When I play live I always put these two songs together."

The Brazilian Producer further embraces the pop-friendly essence of his past work on tracks like 'The Phoenix', featuring vocalist Nathan Berger, and 'Overload', both melding acidulous synthlines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer '618' duration accidentally happens to equate the proportions of the said pentagram. "Coincidence" Boratto questions, and capsulises, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work. I've wanted to transmit the scientific pentagram's point of view. It's not a religious kind of thing."

Whereas 'Spur' (a field-tested 808 and 909-heavy "purist track", "very, very old school" Boratto insists) and 'Alcazar' are sheer smooth-edged four-to- the-floor epics, the album also shares its lot of startling moments, such as with the John Barry'esque 'Scene 2' (with a hint of Amon Tobin, 'Easy Muffin' style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence, or with 'Hallucination' (feat B.T.) and the further James Holden-ish title-track 'Pentagram' (think 'The Idiots Are Winning'), "one of those exercises I did when I got my Buchla modular synth" Boratto analyses, "I think I've used more then 30 different snares, with different delays and reverbs. The whole song is alive". And so is 'Pentagram' in its entirety: alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.

Es ist zehn Jahre her seit der Veröffentlichung von Gui Borattos bahnbrechendem Debütalbum - Chromophobia . So wie der Titel vermuten ließ, war das Album mit seinen kontrastreichen Minimalgrooves und den üppig gefärbten Melodien ein Schocker im besten Sinne. Ihr erinnert euch sicher noch an die Hit-Single - Beautiful Life , eine Dancefloor-Hymne aus dieser Zeit. Nach vier Alben und unzähligen EPs und Remixen ist das einmalige Savoir-faire des brasilianischen Produzenten, aus vielfältigen Singles und Features stimmige Alben zu schaffen, auch auf seinem fünften Studioalbum - Pentagram zu hören. Hier legt Gui Boratto ein Zwölf-Track-Narrativ vor, das seine Handschrift auf erquickende Weise wiederbelebt. Wiederbelebt wird auch die Stimme von - Beautiful Life (die der Frau Gui Borattos gehört) auf dem Stück - Overload .

Durch seinen charakteristisch kaleidoskopischen Ansatz liefert Boratto ein Album, das gebaut ist wie die Speichen deines Fahrrads, von dem Opener - The Walker - direkt auf der Spur von Tears For Fears - Elemental (einer von Borattos - favourite 80's bands ) - zur Hi-NRG-Euphorie von - Forgotten und seinem stampfenden Counterpart - Forgive Me . - Ich bin in zwei unterschiedlichen Richtungen gegangen , sagt Boratto: - den typischen ,Indie-Electronic-Rock'-Weg wie in - It's Majik oder - Like You und den Techno-Weg. Er fügt hinzu: - Ich hab mich entschieden jedem Track seinen Zwillings-Track an die Seite zu stellen. Immer wenn ich live spiele lege ich die zwei Stücke zusammen.

Der brasilianische Produzent erschließt weiter die Pop-Essenz seiner vergangenen Arbeit auf Tracks wie - The Phoenix (feat. Nathan Berger) und - Overload . Beide kombinieren zwitschernde Synthi-Melodien mit lasergenauen Breaks, Hooklines, Drops und sind wie gemacht für die Rotation und den Club. Und für die Symbolisten da draußen: die Länge des reduzierten Closers - 618 beträgt zufälliger Weise genau die Proportionen des besagten Pentagramms. - Fügung , fragt Boratto und fasst zusammen: - Ich bin kein Anhänger des brasilianische Neo-Konkretismus , aber ich glaube die brasilianische Künstlerin Lygia Clark hat mich sehr inspiriert. Nicht die Bedeutung ihre Skulpturen aber die Form der meisten ihrer Arbeiten. Ich wollte den wissenschaftlichen Blickwinkel auf das Pentagramm übersetzen. Nicht im religiösen Sinne oder so."

Während - Spur (ein erprobter - purist track auf der Basis von 808 und 909, - sehr, sehr old school , wie Boratto betont) und - Alcazar glatte Vierviertel-Epen sind, hält das Album auch Überraschungsmomente bereit. Z.B. das John Barryschen - Scene 2 (auch eine Spur von Amon Tobins - Easy Muffin ist darin zu hören) und seinem Streicher-Aufbau, der hundertprozentig geeignet wär für eine Eröffnungssequenz in einem Bond-Film. Auch - Hallucination (feat. B.T.) oder der James-Holden-hafte Titeltrack - Pentagram (wir denken da an - The Idiots Are Winning ) wäre da zu nennen. - Einer dieser Übungen, die ich gemacht habe, als ich meinen Buchla-Modular-Synthesizer bekommen habe, war , erinnert sich Boratto, - mehr als 30 verschiedene Snares, Delays und Reverbs zu verwenden. Der ganze Song sollte am Leben sein. Und so ist - Pentagram im Ganzen: lebendig und sicher genau so vielfältig wie sein Bauplan, der auch der Wissenschaft und den Träumen zugrundeliegt.

* Following on from last year's debut release on Cold Recordings, Cocktail Party Effect makes a welcome return to the imprint with 4 new genre-melting rhythmical workouts, charged and ready for the dancefloor.

* 'Lemons', the eponymous EP title track, kicks things off, opening with dubbed-out chords and a fidgety, rattling percussive loop which eventually disappears into the background as the breakdown primes itself for the drop. Suddenly, in comes a hyperactive rhythmical workout, rolling at 128bpm but turbo charged with double time percussive flicks. Soon the dub elements return to fill out the sonic, keeping the pace lively and engaging. Quality, effective dancefloor music.

* Following straight on is 'Bangers' which almost sounds like an imagined collaboration between JA rhythms stars of the moment, Equiknoxx and Walton or Batu. Squelchy drums and a t'umping bassline roll things out in fine style.

* Flip the plate then for 'Quite' which brings things back into slightly more familiar territories, utilising a swooping bassline as pitched, deranged vocal stabs swirl about and tight drum programming keeps the pace moving. Last up is 'Flat Football' which returns to a similar form as the title track, 'Lemons'. Manic drum programming is used to create the impression of being in fast forward without moving the tempo over 130bpm! Not for the faint hearted.

FINA Records welcome Jad & The for a new EP that shows off the Australian-born, Berlin-based producer's majestically melodic house sound. A special dub from 6th Borough Project makes this another essential release.

Before now Jad & The has served up tracks of the year ('Strings That Never Win' - Mixmag 2017), fronted four piece live act Mitzi—who played alongside the likes of Nile Rodgers—and also produced as Jad & The Ladyboy, all the while picking up fans like Moxie and Bradley Zero. Sonar Kollektiv and Toy Tonics have put out his charming sounds before and this new one is another joyous offering.

The feel good '2 Getha (4 Eva Mix)' kicks things of with old school drum breaks and loved-up vocals. Big smeared pads, a new age melody and classic bassline line finish it off and carry you away to summery house heaven. 'Twist Club' then drops into lush deep house with a long legged bassline tumbling beneath organic drums. It's a dreamy and romantic cut before 'Disco Hold Down' has live sounding jazz drums, choppy vocals and rough edges that take you to the heart of a vibe-fulled basement party. Delusions Of Grandeur's 6th Borough Project serve up a Dub that's more stripped back and built on a big rubber bassline. Jacking drums and a more rapturous vocal make it a truly steamy jam.

Buy the EP digitally and you get a bonus track, '2 Getha (Neva Mix)' which is another blissed out and rave tinged house cut which oozes pure euphoria. It closes out a brilliantly heartfelt EP of varied and vital house sounds.

Danny McLewin (Psychemagik) and Jamie Cruisey have a new label of original signed artists called SPIRITS. The first release is from Mexican hotness 'Lokier' of She Made Monster and 'Jason Greer' aka 'The Machine', one of the Californian undergrounds best kept secrets. They met in 2015 at a festival in London and after spending a few days together, became musically obsessed with each other. That summer, as Jason bounced around Europe, he stayed with Lokier in Barcelona for some weeks and after long night walks, some tapas and absinthe bars they came up with their first EP together.

A1 "White Room's" slo-mo headnod film score, kick starts the EP, brooding synths buzzing with electric cocaine gloss, their oscillators fluttering like cyborg butterflies around the pulsating strobelight beat. Creepy.
A2 "Stained Glass" hits tough straight out the gate with subterranean bubbling acid bass and charges headlong into deep psychedelic territory with a goth-inspired guitar, reverb on 11, turning the track into a next-level robo-Giallo monster!

B1 "Pearly Hate" begins as if a menacing swarm of bionic rave bees is slowly surrounding you, the tension of their impending drone amping up steadily as your brain thinks: Do I run This midtempo Carpenter-esque jam is atmospheric putty in the hands of sleazoned DJ's and sounds like the beginning of a long, strange trip.
B2 "Red Floor" is a chugging, barely restrained dark disco beast, flagrantly wearing its Weatherall and Neu Beat-ing heart on its tattered sleeve, elliptical melodies keeping you from your sanity with a solid drop for the dancefloor - another one for DJ's who ride it rough.

Thus completes the first release for new label SPIRITS. Four tracks exploring another corner of otherworldly analogue hedonism for extra-dimensional travel. Keep your ear on "Red Floor", as its potential for dancefloor uplift is proven and Machine-ready! Stay jacked in for more missives soon...

Ivan Smagghe:
"When your best Mexican chola low-rider meets our favourite Californian mechanic, you get a proper slice of (Lokier and) Machine funk. This is grease electronics, black leather under the very dark sun of 'Pearly Hate' or in the bright isolation tank of 'White Room''

One of the most exciting artists to emerge in techno circles in recent times, Drumcode is excited to present the label's first EP from Boxia. Over the last 12 months the UK artist has impressed with his classy take on techno that mines two decades of rave.

Last year's 'Colour Sequence' EP on We Are The Brave marked one of 2017's standout releases, before being tapped by Maya Jane Coles to remix a track from her latest album 'Take Flight', while B.Traits also shone the spotlight on him for a Future 12 residency on BBC Radio 1 throughout September.

Boxia first came into contact with Adam Beyer when he opened the Car Park at Tobacco Dock for LWE's NYD event in 2016, and since then the pair have spoken regularly sharing similar tastes in music and DJing. He dropped his first cut on DC during the summer of '16, with 'Revolution' that featured on A-Sides Vol. 5, making him primed and ready for his first full length EP in 2018.

The four-track work lives up to his growing reputation for crafting beautiful, nuanced and ultimately very powerful electronic music. The EP opens with 'No World Order', a deep transcendental slice of techno propelled by a wicked acid line and vocal that leads to a galloping finish.

'Only Human' is drenched in atmosphere and old skool wonder, a brilliant composition of punchy multi-layered drum work, catchy synth lines and cutting acid that reveals its tender side with emotive broken beat interludes. 'Unreal' is a big peak time belter, raising the tempo to sweaty palms level, as a propulsion of acid and a memorable riff fill the techno sphere.

The title track 'Ethereal Education' closes out the work, a beautiful chord-driven vocal cut that evokes images of the classic dance that characterised Boxia's earlier years and makes a fitting outro to this outstanding EP.

originally released in 1993 - with Ric Ocasek & Liz Lamere-Never released on vinyl-

Born in Brooklyn, Alan Vega was reared on the rock 'n' roll sound of Elvis Presley and Roy Orbison, but originally struck out on a career as a visual artist and light sculptor, making pieces out of electronic debris. But on the occasion of seeing Iggy Pop fronting the Stooges at The Stooges at the New York State Pavilion in 1969 was an epiphany for Vega. It showed me you didn't have to do static artworks, you could create situations,' he said. That show was the first time in my life the audience and the stage merged into one." It was that eradication of barriers between the two that Vega took to heart.

Their first two albums, 1977's Suicide and their 1980 follow-up, remain two of the era's greatest touchstones, beacons for others seeking to transform their worlds with sound. And even during the group's hiatus through the 1980s, Vega continued to pursue his singular vision across an individualistic solo output. From his 1980 self-titled debut and rockabilly-infused albums like Saturn Strip, through bracing albums like Power On to Zero Hour and IT, Vega forged his own singular path.

For all the darkness and despair that encompasses this moment in our world - and despite his work being depicted as bleak and nihilistic - for Vega there was always a sense of hope and a place for dreams to become reality. People have always told me that my music is angry,' he said. To me, it was always just an energy. It was the way I perceived the world. The key Suicide song was 'Dream Baby Dream,' which was about the need to keep our dreams alive. I knew back then that something poisonous was encroaching on our lives, on all our freedoms.' He fought to his very last breath for that freedom.

proper mixed bag this one.. soothing, grinding, banging, and disturbing!
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New York City by way of Miami, Alex Suarez delivers his debut lp the eight track "Autogolpe" for L.I.E.S. Autogolpe, is a term for military coup initiated by a dictator to take control of an existing government and Suarez uses this loose idea to create the sonic equivialent of the pain, strife, oppression, isolation, and joyous freedom associated with said act. Musically he expands on his prior releases for Bank and Primitive Languages as heavy industrialized sonic beatings sit next to somber passages, oil drum slow beat tribal clangers provide a back drop for screams shooting out of the dark. Musically it paints a distorted picture of world in decline, an exile from another land and arrivial to anothers in chaos or the clinging hope of something better on the other side.

It's taken almost 3 years to get the man like Medlar back on Delusions fol- lowing his 2015 release with Dan Shake but finally it's come together. That release, along with his regular output for Wolf, Riverette and For Discos Only has helped cement Medlar's reputation as one of the leading UK un- derground house producers and led to official remixes and approved edits for legendary labels TK Disco and West End no less! The Medlar seal of quality has led to support from such influential heavyweight selectors as DJ Harvey, Gilles Peterson and DJ Koze.

Kicking things off we see Medlar in straight up dance floor mode on title track NRG, coming through with a drum-heavy workout that utilises a gnarly bassline, echoing synth stabs and rasping hats to excellent effect.
Flip over for his own Dub Version which strips things back further placing all the emphasis on the bassline and going heavy on the Space Echo for a tripped out, dubby warehouse vibe tailor made for the freaky hours.
Closing the EP we have the aptly named Tripped which drops the BPM's for a low-slung mood-setter to warm up the floors with. A simple groove lays the foundation for a rolling bassline while chiming synths weave in and out of the spacious mix.

Optimo Music is thrilled to release the new album from Jacob Yates. Not only is he one of our all-time favourite artists from Glasgow, but he is one of our favourite artists from anywhere. Criminally unknown except to a few who have been long transfixed by his recordings and performances, we hope this release will open a few more ears to his wondrous musical world.

The Hare, The Moon, The Drone' is the third album from Jacob Yates. This recording finds the band exploring dark hawthorn hedged lanes, moors and suburban, new build estates. There's something more earthy about the songs but the menace and darkness remains. Musically there is a big shift on this album, a field recording of a folk band from a dark, pine filled glen. The opener, The Car sets the scene for the rural side of the album, dank and stone cold. The tracks then shift through the woods, people turn into animals, we pass a sunlit glade, do you hear a love song Cassie Ezeji closes the side sweetly lamenting in Gaelic as the snow falls.

Side two is a more urban affair opening with despair in a bedroom in Belgium, we visit a faith healer and drop in on your lonely mother. Lovatt recounts the story of a karaoke addicted murderer before we finally go home to our new build just outside of town where the pylons tower over Michael and his sister Rachel. It's a journey you can go on, looking out of the window of the bus, glimpses of lives glide by, cards on seats promise to help you. Ding! It's time to get off.

It's remix time! We open our vaults to let our favourite producers from 'round the globe play around with our releases. This is the first of 3 remix EPs, with fantastic reworks by the hanseatic hedonism force of RSS DISCO, the Australian psychedelic vibes of DREEMS, the Austrian psychedelic vibes of TIGHT PANTS and the Mexican dreams of SAINTE VIE.Tune in, drop out!

* Breaking into a new century, following last months 100th release on the label, Ishan Sound collaborates on 2 killer tracks with Bristol-based Hodge and Alex Hughes aka Muttley.

* 'C5' refers to cold explosives and makes for a perfect title for this stark, cold rhythm. A circling melodic synth line sets a moody context before the floor drops out and an industrial strength sub drives things forward at 130bpm. Deep, hard, dark, original. Exceptional quality from Ishan Sound and Hodge.

* Flip for a 140bpm excursion from Ishan Sound & Muttley, melding elements of trap, grime and dubstep meticulously to form an engaging sonic that is both fuel for the dancefloor as well as providing introspective qualities for bass weight meditation. 'Still Smoking' sums it up appropriately.

Two of the most powerful cuts from Aura's self-titled 1979 LP, now available on 7-inch. Aloha Got Soul's first release of 2018 accomplishes two-fold: it aims to tide fans over while the label wraps up new music projects with young artists from Hawaii (more news to come).Secondly, it gives DJs the chance to bring a much more portable version of these top tunes from the band's now sold-out LP reissue, which enjoyed play from the likes of Theo Parrish, DJ Muro, Gilles Peterson, and Red Greg.Most will head straight to the B-side for the non-stop funk/disco fire of 'No Beginning, No End' (we do!).Fans of DJ Muro and DJ Nori's Captain Vinyl label will know that the A-side's 'Let Me Say Dis About Dat' received a 7-inch treatment in 2017 with a limited, Japan-only run of 500 copies.A solid addition to the AGS catalog, and a welcome contender in the ever-flowing stream of funk 45s that constantly begs the attention of DJs worth their salt.The natural evolution of Aloha Got Soul from a funk- soul reissue label into a fully-fledged representative and curator of progressiv music from Hawaii continues with this throwback 45 preceding the label's upcoming drop of new music from emerging artists in 2018.

Elevate Melodies are back with four toe-tapping, finger-snapping, dancefloor slaying heaters, all on wax.

Side 1 takes off with the Griffes' remix of Jay Airness' She Staying', all sumptuous keys, sun dappled strings and peak-time beats propelling the track ever forward. Venice Beach then takes on Sly Moore's seismic Muoosic', dropping the tempo and creating a super low-slung slab of electro funk, one for the 100bpm crew.

On the B side, Lord Funk takes on Black Les Grues De Nantes' from Victorius, turning it into a jazzy workout with slap-bass, chopped up vocals and dusty vinyl crackles giving it a classy 90s feel. And rounding out the selection is New York DJ and producer P-Sol who applies his midtempo skills to Law and Theory' from label boss Jay Airness, creating an atmospheric groove with some real funk and jazz flourishes.

Limited to 500 copies.

LP+DL

To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol.1' is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland - a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of 'Beggin', 'Plastic People' and 'Yesterday' - all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodized, chip- implemented groove of I AM ROBOT - reminiscent of Telex and Space Art, balearic jazz & rap shine of 'Sky So High', smokey lounge ambience of 'L AND H' onto broader ambient-friendly spans such as 'Suspension', 'Windshield Gently Wipers' and the smooth, sun-basking closer 'Get Down', each track holds a fragile cocooned world at its heart.

Bei denjenigen, die mit dem Output vom Kölner Label Firm aus den frühen Nullerjahren vertraut sind, sollte der Name Geiger alias Nass zweifellos die Glocken klingeln lassen. Als der Herold einer hedonistischen Melange aus Funk durchdrungenem Elektro-Pop und Gitarren durchzogener Synthie-Musik irgendwo zwischen Ween und den Junior Boys, bricht Alexander Geiger seine achtjährige Schaffenspause mit der Veröffentlichung seines Debüt-Albums unter neuen Pseudonym: Fahrland.

Ein Release, das sowohl die diskoiden Tropen der Firm-Ära affirmiert, als auch danach strebt ein bestimmtes Segment davon zu spalten. Aufgenommen um ungeahnte Interferenzen seines gestaltverändernden Sounduniversums zu entdecken, ist 'Mixtape Vol.1' das Resultat eines bewussten Umzugs aus dem schlaflosen Berlin in die friedliche Landschaft von Fahrland - einem üppigen Waldgebiet in der Nähe von Potsdam, das eine entscheidende Rolle in Geigers ersehnter Rückkehr zur Musik gespielt hat.

Vielfältig und offen erforscht das Album polyamorös eine Skala von Stilen und Tempi als Antwort auf die virtuellen Ketten, die uns tagtäglich hemmen. Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Geiger webt stattdessen ein einzigartiges Narrativ, frei von jeglichen Fesseln und Ketten und führt uns auf seinem multiversalen Flickenteppich aus Sounds und Gefühle mit Sichtkontakt an so allgemeingültige und universelle Begriffe wie Freiheit, Freundschaft und Liebe.

Vom nochalanten Vibe von 'Beggin', 'Plastic People' und'Yesterday' (alle drei mit der sinnlich wispernden und vielseitigen Sängerin MZ Sunday Luv), bis zu dem durch den Vocoder gejagten und computergenerierten Groove von I AM ROBOT; Reminiszenzen an Telex und Space Art, balearischen Jazz und Rap erklingen in 'Sky So High', rauchiges Loungeambiente auf 'L AND H' bis zu völliger Ambient-Anschlussfähigkeit in 'Suspension', 'Windshield Gently Wipers' und dem sanften, Sonne anbetenden Schlusslied 'Get Down' - jeder Track hält eine Welt für sich in seinem Herzen.

LP+DL+MC Limited

To those familiar with the output of Cologne-based imprint Firm from back in the early '00s, the name of Geiger, alias Nass, shall undoubtedly ring a bell. Herald of an hedonistic melange of funk- soaked electro pop and guitar-riddled synth music, sitting somewhere close to acts like Ween and Junior Boys, Alexander Geiger is about to break a eight-year hiatus with the drop of his debut album under the newly-founded moniker of Fahrland. A release that both encompasses a healthy dose of the discoid tropes from the Firm era but also aspires to split with a segment of it, geared towards exploring further undisclosed fringes of his shape-shifting sound universe, 'Mixtape Vol.1' is the fruit of a decisive move from the sleepless Berlin to the peaceful countryside landscapes of Fahrland - a lushly forested area near Potsdam which you'll have understood played an essential role in Geiger's longed-for return. Versatile and inclusive, the album sweeps a polyamorous gamut of styles and tempos like an answer to the virtual prisons that inhibit us on a daily basis, straying away from normative standards and classic full-length calibration as a result. Instead weaving a singular narrative course, clear from all type of shackles and chains, Geiger navigates on sight, reflecting on notions as wide and universal as freedom, friendship and love across a multiversal patchwork of sounds and feels. From the languid sexy vibe of 'Beggin', 'Plastic People' and 'Yesterday' - all three featuring the sensual whispers of multi-talented vocalist and artist MZ Sunday Luv, through the heavily vocodized, chip- implemented groove of I AM ROBOT - reminiscent of Telex and Space Art, balearic jazz & rap shine of 'Sky So High', smokey lounge ambience of 'L AND H' onto broader ambient-friendly spans such as 'Suspension', 'Windshield Gently Wipers' and the smooth, sun-basking closer 'Get Down', each track holds a fragile cocooned world at its heart.

Bei denjenigen, die mit dem Output vom Kölner Label Firm aus den frühen Nullerjahren vertraut sind, sollte der Name Geiger alias Nass zweifellos die Glocken klingeln lassen. Als der Herold einer hedonistischen Melange aus Funk durchdrungenem Elektro-Pop und Gitarren durchzogener Synthie-Musik irgendwo zwischen Ween und den Junior Boys, bricht Alexander Geiger seine achtjährige Schaffenspause mit der Veröffentlichung seines Debüt-Albums unter neuen Pseudonym: Fahrland.

Ein Release, das sowohl die diskoiden Tropen der Firm-Ära affirmiert, als auch danach strebt ein bestimmtes Segment davon zu spalten. Aufgenommen um ungeahnte Interferenzen seines gestaltverändernden Sounduniversums zu entdecken, ist 'Mixtape Vol.1' das Resultat eines bewussten Umzugs aus dem schlaflosen Berlin in die friedliche Landschaft von Fahrland - einem üppigen Waldgebiet in der Nähe von Potsdam, das eine entscheidende Rolle in Geigers ersehnter Rückkehr zur Musik gespielt hat.

Vielfältig und offen erforscht das Album polyamorös eine Skala von Stilen und Tempi als Antwort auf die virtuellen Ketten, die uns tagtäglich hemmen. Bewusst vergessen werden dabei normative Standards und klassische Langspieler-Kategorien. Geiger webt stattdessen ein einzigartiges Narrativ, frei von jeglichen Fesseln und Ketten und führt uns auf seinem multiversalen Flickenteppich aus Sounds und Gefühle mit Sichtkontakt an so allgemeingültige und universelle Begriffe wie Freiheit, Freundschaft und Liebe.

Vom nochalanten Vibe von 'Beggin', 'Plastic People' und'Yesterday' (alle drei mit der sinnlich wispernden und vielseitigen Sängerin MZ Sunday Luv), bis zu dem durch den Vocoder gejagten und computergenerierten Groove von I AM ROBOT; Reminiszenzen an Telex und Space Art, balearischen Jazz und Rap erklingen in 'Sky So High', rauchiges Loungeambiente auf 'L AND H' bis zu völliger Ambient-Anschlussfähigkeit in 'Suspension', 'Windshield Gently Wipers' und dem sanften, Sonne anbetenden Schlusslied 'Get Down' - jeder Track hält eine Welt für sich in seinem Herzen.

In the vapor trail of How Does It Make You Feel,' the first track on this self-titled full length, one can smell the burnt ozone of a seventies-full-orchestra-nebula-pop-odyssey, the flakes floating down and landing like snow, giving grave-chills ... the ash of a masterpiece pop song. Once And Future Band: this incredibly accomplished cabal of total prog wizards has circled the earth, but then, these are the accomplished gentlemen of many former pursuits (the formidable Drunk Horse among them) and all of them comets themselves.

The very mid-'70s vibe at work here surpasses pastiche, and crests that lovely anachronistic conceptual peak: a fully realized and meticulously arranged psych record, meant to be listened to from top to bottom, with the lights down low and in a comfy chair perhaps, or while gazing out the window of your life pod. The Dark Side of the Moon feel, with shades of early Yes's technicality, a dash of Steely Dan's vocal prowess and effortless sheen, and some seriously outsized hooks that call to mind the mighty ELO, Le Orme and, yes, even the unsinkable Queen powered on Brian May's tape echo jet fuel and sequined power cells.

This is a head record in the classic sense but utter fealty to The Dark One insures both being trapped and infected by the pop-parasite. That it is largely self-produced (with tracking / engineering on three of the songs by Phil Manley at El Studio) makes it all the more jaw dropping. Making prog cool again, again, and then slightly more complicatedly, again.