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Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

After the phenomenal send100.1 'Check Check' feat. Konrad Cadet aka Baby Ford with remixes by Mihai Popoviciu and Dub Taylor, this is the long awaited vinyl follow up. The Sender 100 saga continues with another superb vinyl release by Benno Blome.

All three tracks from the Mind Control EP- vinyl 12inch will be available digitally in three different releases (send100.3 / send100.4 / send100.5), each track an individual catalogue-number.

Side A: Survivor Testimony (send100.5) Benno Blome & Joss With fast 45 Rpm on the vinyl, was produced by Benno Blome and Joss, his ukrainian friend from Kiev. They started producing the track in Joss's studio when Benno had a gig in Kiev, and finished it in Berlin. A special emotional mood with Juno 60 strings and a spoken testimony from a female CIA-mind control-project-survivor. Real deep shit!

Finnitus is back with its first 12" release! Spanning the entire A side, Superkind, consisting of Rulefinn and Kim Durbeck, delivers a driving Disco bass line, epic strings and screaming laughter, which The Glue dubbed as 'the weirdest thing we've heard in our entire lives'. On the flip, Rulefinn drops 'Just Try', a nine minute slow jam, slowly building to a climax worthy of finishing your perfect night at the club, and 'Let the OK music play', an intense Disco drum tool in his favourite bpm range(130s).

Moonshine Recordings continues to coordinate dub into all sorts of directions with its steady throughput of vinyl releases. This time around, it's the Spanish-based Bukkha to uplift all followers with two up-tempo rollers that take part in his crucial 'Ruling Sound' EP. His name has been all over the news inside bass culture lately, as the American released highly noted physical music on critical labels like Killa Sound and Dub-Stuy Records. He's been working his way to the top and the only thing the Moonshine Recordings imprint can do is support his efforts in pushing dub music to the masses at any given moment of the day.
On top of this wicked news, Portland's dub producer and engineer 'Skelli Skel' joins this session to frame the taste of the 'PDX Mandem' collective from back home. His love for complex rhythms and heavy bass lines fuel his adventure inside dub culture, something you'll hear when listening to 'MS028'. And with the familiar voice from don Junior Dread, who jumps in on the hype by illuminating the dub with carefully selected freedom of speech, it's the collaboration that speaks for itself. To top it all, TMSV is added to the release roster, a producer whose been dealing some serious damage with his inventive music repertoire. Whether it's music on the darker tip, or the more laidback sound, both Bukkha and TMSV know how to uplift and please their followers with bass-heavy, eardrums-teasing bass music.
Bukkha's 'Ruling Sound' leads his way through musicality by portraying the right balance of instruments and not to mention the gigantic bassline that disperses vibrantly through the lower bottom of the mix. The reigning vocal support from Junior Dread and dub techniques from PDX Mandem family Skelli Skell work out fantastically, as it makes this record come to life. Listen to the instrumental part that propagates in the exact sense of 'dub music', regardless of spinning on a higher beats per minute. The version 'Ruling Dub' by Bukkha himself plays a more meditative part inside your headspace; a clipping where basslines and effects will act up in a blurred version. It's the real attention to detail the American producer shares with remix boss TMSV, who hits fans with a darker joint that pays homage to Drum & Bass. It's aggressive stance forms the pinnacle of 'the right' B-side of a Moonshine Recordings plate. Just make sure you experience the second drop of this absolutely mammoth interpretation, as TMSV shuts down the place!

Coming from Ireland, Rustal spent a few years in Melbourne Australia. Here he became a regular customer of Bounce Audio record store from whom Short Black was born. This 12", 140g black vinyl packs 3 tunes. Two original productions from Rustal and a jaw dropping remix of Privilege by Brendon Moeller aka Beat Pharmacy & Echologist. The original title track Privilege is a showcase of Rustal's production style. Instantly enganging and driving techno with echoed vocals and rhythmical textures. Forwards Backwards Down takes on a more dubby, pounding route. Lush synth chords carries the track throughout with a slamming kickdrum and percussive textures. Brendon Moeller joins the Short Black label with a dubbed out take on Privilege. Big sub bass with interesting sounds throughout taking you on trip to a place far away. You won't be believe where you ended up. Enjoy the ride. Like all Short Black releases. This is a vinyl only release, and will remain so forever. Support your local wax dealer.

Aussie rare groove ensemble Kerbside Collection's second album of instrumental funk and jazz grooves "Trash Or Treasure" (released May 2015) gets the remix, rework and re-use treatment with a variety of re-interpretations with everything from downtempo hip- hop/neo-soul and dusty analogue lounge beats, to fuzzy, Balearic electronic club workouts and even some broken beat flavours.Kicking off this limited edition 12" vinyl, AV artist/DJ/Producer Sampology lights up the sitar disco vibes of "Strawberry Fields" taking the track into sizzling Balearic, club work-out territory with added afro percussion, squelchy wobbles and effects, perfect for summer festivals and hazy end-of-night vibes. Vinnie Laduce's follows with his cruisy vocoder and lo-fi indie beats reconstruction of "Shake 'n' Bake", while another local Brisbane producer TwoDee (who also appears on "Mind the Curb" remixed) delivers an eighties, electro break flavoured re-work of 'Rabbit Hole'.Side B starts JNBO (The Cactus Channel bass player) and his unique wonky, analogue and quirky touch to the title track for a fuzzed out, analogue electronics burner for fans of Floating Points, Cro Magnon, Dabrye and Dimlite (bounced to tape no-less for added bump!). Closing in on this special vinyl is Kerbside's drummer Paprika who takes the coastal groove of 'Bogangar' to the afro side with his 'Mountain Air Afro- dub', recreating a low slung, Tony Allen styled afrobeat groove with added melodic movements and dubby effects, while he adds another remix taking "Trash Or Treasure" into future jazz/broken beat territory with added percussion, moog bass and a surprise heavy change up at the end, almost reflective of some classic Fat Freddy's Drop!

Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue. Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist! Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

In the summer of 2014, producers Frankie Valentine and Thomas 'T-Ash' Sciurpa bumped into each other in a London shoe shop. Over a fine selection of brogues and loafers, the conversation drifted onto music. The duo quickly realized they had much in common, and a plan began to form: they would get together and make music as Vitruvians, using the alias as a vehicle for their collaborative work.
Some 18 months and numerous recording sessions in England and Italy later, the first Vitruvians record is ready for release. Dropping on Paul Murphy and Simon Purnell's Leng Records imprint, 'Spaghetti Saloon' is a banjo-pickin' hoedown at the last drinking hole in the Milky Way. Propelled forwards by a restless drum machine rhythm, the duo's original version expertly combines winding synthesizer melodies, wild honky-tonk piano solos, clanging 'closing time' bells, and the most loved-up banjo player in the galaxy. Ennio Morricone, eat your heart out.
The flipside of the 12' features a pair of tasty, DJ-friendly revisions. There's the chugging Banjo Dub, where delay-laden bells and undulating banjo lines rub shoulders with a throbbing, space disco groove, and the even more psychedelic and alluring Piano Dub. As the title suggests, this pushes the duo's distinctive keys work to the fore, stretching out the life affirming solos in a bid to incite even greater dancefloor abandon. Down a glass of bourbon, grab a partner, and get dancin

You Can't Defeat Her, When You Meet Her You'll Get What I Said B2 Marlon Hoffstadt - 2000MG Floating Info: Retrograde returns late September with 'In Reverse Pt.1', a various artist package featuring Matteo Luis, Natureboy Gold, Terron and Marlon Hoffstadt. Berlin based imprint Retrograde marks its fith release here and once again welcomes back a selection of the collective recording artists already featured on the label such as label head-honcho Natureboy Gold, FFRR/Play It Down artist Marlon Hoffstatd, also co-founder of the label and tipped as a Future Star by Pete Tong on Radio 1. Matteo Luis also makes a return following appearances on two EP's for the label prior to this, while an exciting addition to the catalogue comes in the shape of Terron, most notably known for their work with Young Turks sub-label WHITIES. Up first on the release is Matteo Luis' 'Out Here' setting the tone with ethereal pad swells, organic rhythms and choppy bass hits while a soft and brooding melodic tension subtly unwinds throughout the composition. Natureboy Gold's 'Eternal' follows and employs a similarly airy synth feel while introducing a robust tom- driven rhythmic approach to create an understated dance-floor focused contribution. Opening the flip is Terron's cryptically named 'No.57, You Can't Defeat Her, When You Meet Her You'll Get What I Said' which drops the tempo to a low slung feel with dubbed out bass licks, bumpy percussion and spiraling bass drones to create something idiosyncratic and psychedelic. Marlon Hoffstadt steps up to round off the package next with '2000MG Floating' delivering a raw energetic workout with soaring 80's tinged leads, snaking bass grooves and frenetic percussion.

Tor Goffer is a young and promising producer from Tel Aviv, dropping his debut EP in the 2nd release by No Waves.

Included are two big-room Dub Techno tracks, a driving Deep House tool, and a raw remix by TV.OUT.

* Manchester's Walton returns to Tectonic following last year's explorations in grime flavoured house/techno offshoots on the killer 'Bulldoze EP'. This time Walton leads with a dance floor crushing anthem that cruises a cool line between grime and tribal dubstep. Featuring a looping Riko Dan sample, 'Gunman' sets a stone cold tone from the offset, hi-hats setting up the groove before a grime flavoured melody cuts in preparing you for the drop. When the bass and drums come crashing in they bounce off each other to produce a disorientating tribal rhythm that will set the dance floor alight!

* Flip for a slower, more gentle mood with 'Caught In A Trip'. Rolling at 126bpm, 'Caught In A Trip' builds around a developing melody played on a glockenspiel-esque instrument, backed with tribal percussion and a driving kick pattern. Ethereal in mood throughout, this one provides a lighter moment for the dance floor.

Peng Sound Records kick off the year 2016 with their first set of 10' discs - the original dubplate format does seem rather fitting for what is perhaps one of the biggest and most in-demand cuts from Ishan Sound & Gorgon Sound in recent years, a big contribution to their unstoppable rise in soundsystem music territory. Trojan, the grime-tinged steppers is reminiscent of the seminal 'Find Jah Way' by his peers Gorgon Sound, yet it's still an unmistakeable Ishan Sound production, in the way it's sonics are laid out and presented. In perfect combination fellow Young Echo cohort Rider Shafique steps up in authoritative style, going full charge at the walls of babylon with lyrical firepower. The Ishan Instrumental and the Gorgon Remix have been staples in sets from the likes of Iration Steppas, Kahn & Neek (aka 'Gorgon Sound') Mala, Dubkasm and and of course Ishan Sound himself. The list of selectors who have played this is small but refined, this one has been kept close to the chest, in true tradition to the dubplate ethos of exclusivity. In addition to the instrumental cuts, Peng Sound Records present the burning vocal cut with Rider Shafique. Flip the disc, and the Version awaits, letting the rhythm take full control, for extended dubwise pressure. For all the selectors out there, this release comes packed with enough version excursion to keep the fire burning 'til the dance is charred and dusted by means of frequency. The second disc comes loaded with the infamous Gorgon Sound remix, sonically pretty much exactly between the sounds of Bandulu and Gorgon, with their extra overdriven low-end and amplified, multiplied kick drum pattern, their version of Trojan is arguably the most explosive of them all. The combination of Ishan, Gorgon and Dubkasm is something we've come to expect from Peng Sound now, but this is the first Record that combines all three on one plate - the final cut on this set of Trojan interpretations gives us an exclusive, brand new Dubkasm counteraction - flipping the energetic steppers on it's head in favour of an uplifting one-drop beat, giving the vocal and rhythm a brand new space and presence. If the first three cuts were there to mash down the place with unhinged, dangerous soundsystem attitude, then the Dubkasm cut could be seen as the cool and easy soundboy burial, cementing Rider Shafique's message with deadly effect.

Ben Sun returns to Delusions for his 4th release on the label including three more tracks which show the Australian via London on his best form yet. Full Moon kicks off the Tides EP at full throttle with a muscular conga-led disco house roller. Slurping 909 hats and the most twisted of synth solos courtesy of regular collaborator Fantastic Man (and his beloved Juno 60) provide the icing on this simple bass-cake which never fails to energize the dancefloor in the most special of ways.
Star Ritual drops next, going heavy on the percussion once again for a minimal stripped back drum tool which packs a mighty punch. Dubbed out vocal hits punctuate the beautifully loose groove with subtle hints of afrobeat implied by the bassline making for a warm summer track dripping with tropical vibes.
Finally we have Glass Waves bringing the EP to a glorious close, all chiming synths, bouncing moog bass and waves of chords layering on top of a heavy drum track. Ben repping an early 90's blissed out Nu Groove mood on this one and managing to sound as fresh as ever in the process.

A heady 3 course meal (w/16 course bonus digital feast). Derrick Carter dubs up Alexander East's "Jest 4 Me", Mazi takes another swing at Chris Udoh's "Ready for You", David Duriez drops acid on San France Disco's 'Bringing Back Sweat To the Dancefloor"

After making some massive claims regarding electronic music last year which caused a stir in the dance music community, Mat Zo had a lot to live up to with his long awaited second album "Self Assemble". What didn't help was the fact that his first album, "Damage Control" was critically acclaimed by many within dance music and is now considered a modern-day masterpiece with mesmerising tracks such as The Sky and the massive Easy with Porter Robinson.Blending genres and sounds in a way only Zo can achieve, this record flows incredibly well as the tracks move from one to the other almost telling a story of the different styles of electronic music. At times the album is reminiscent of Zo's incredible Essential Mix from back in 2013 in the way that it progresses and constantly surprises the listeners. A lot funkier than Damage Control, it's no less incredible.
Beginning with the beautifully atmospheric "Order out of Chaos" which starts with an absolute wall of sound that boggles the mind in how Zo even went about designing something so complex, this sets the tone for the rest of the record in a cracking way. The melody soon crescendos and we're introduced in to the meat of the album with "The Enemy". Bringing out all the good funky vibes on this track, again Zo exhibits his insane production talents which are a staple of the album. Featuring vocals from the wonderful Sinead Egan, this is a great uplifting tune that'll no doubt have you dancing in your chair or in the club.
'Sinful" acts to continue the funky good-time vibes and transports us to a cool summertime drive. It has us yearning for happier times and again the guest vocals from I SEE MONSTAS go a long way in getting across this happy vibe. Featuring an uplifting almost french house inspired bassline and squelch synths that wouldn't look out of place on a Daft Punk or Madeon record, this is another stunning track from the record. "Patterns Emerging" feels like a bridge into the next section of the album and is unfortunately short. The orchestral element really brings out the emotion on this track and we only wish it was longer. "Killing Time" has those classic chopped up vocals that Zo uses to great effect and some nicely programmed drums that could be a nod to the drum and bass he used to put out under MRSA.'Smacked up on Jack" features some cool middle eastern sounds and a wacky vocal sample that helps to progress the album and keep the listener interested, again though we feel like it's a bit too short and are left wanting more. The next tune "Ruffneck Bad Boy VIP" is an absolute mammoth and one of our favourites off the record. Opening with an immense rhodes melodic sequence and after some nice vocals, the track rips into the electro house and dubstep infused banger that it really is. Some dirty, dirty sound design and drum production will have the dance floors going wild and shows us again why Zo is so good, it's a far cry from the funkier elements of the earlier stuff on the album and shows how Zo can show off a range of electronic sounds. "Lights Out" is a straight up hard hitting electro banger with an infectious vocal sample that only needs to be heard to be understood. Not much more needs to be said about it! Coming into the last section of the record, "Soul Food" returns us to the groove with an astonishing house beat and bass line that have us questioning how Zo makes it so hard not to smile listening to this album."Stereo no Aware" starts sounding like it's taken straight from a space movie epic and soon transforms into a goose bump inducing melody with a driving growling bass line that bring back the epic dubstep we all used to love a couple of years ago. Skrillex eat your heart out. Finishing off this record on a more emotional note, "Too Late" starts off like a guitar ballad and then transforms into something totally different. Egan's melancholic vocals enhance this track to great effect and is all backed by Zo's lovely downbeat production until we're treated to a monster of a climax around half way through the track which will surely blow the cobwebs right off you. Zo says goodbye to us with the phenomenal "The Last Transmission" and what a way this is to close out an incredible sophmore album for the English producer. The melancholic piano chords are a subtle and pleasing way to close out this journey of a record. Mat Zo really has outdone himself here and we're really looking forward to hearing some of these bombs dropped live. Surely a contender for album of the year at such an early stage, yet again it's only the best delivered by Mat Zo.
Latest album, Damage Control was Grammy-nominated for Best Dance/Electronic Album last year

The new Analog Solutions 018 , label owned by the Spanish producer Eduardo de la Calle, will be released in May.This time presenting a various artists, by Kristina and ORBE, that combine an ep with a personal character, full of floating arrangements and inherently techno flavor, but sophisticatedly Dub. It seems that the label Analog Solutions will take refuge next references on collaborations lauching a series of various artists so better to be alert .

Different artists will take the place like Japanese Takairo Oishi, already on catalog reference 015 from the spanish label, and also appear in the reference 019 coming soon.

On side A we have 2 tracks of ORBE, the first A1 titled "Modern Cicles it is certainly an exercise in resilience and compromised to the authentic,
where Fernando Sanz aka ORBE develops a track infinite and penetrating where arrangements certainly exemplify the finest and purist made in Spain techno.

The second ORBE track A2 , entitled "Beyond The Ubiquity" reflects the good moment that Madrid based producer ORBE is going on with , and drops certainly an epic ideal for closing sets track with melodic nuances and highly useful for high voltaje DJ,S .

The novel but solid Kristina opens side B1 with his tool "Hydragea", where again, based dub elements, manages to build a disciplined rhythmic atmosphere , at the same time delicate, and that will delight lovers techno more fluctuating.

In the side B2 kristina it attack with "Dicentra" .A extremely funk track with multiple hi hats variants, and where the first minute of listening past, one enters a deep cerebral hypnotism .Dicentra is without any doubt one of the highlights of the record, where Kristina synthesized based revers again and again succulent and repetitive sounds, which make the reference number 18 Analog Solutions certainly Essential to find a place in the case of any dj.

Storming into our fifth release from the dirty shores of New Jersey, Green Village is proud to present Village Elders 001, a compilation EP featuring new material from artists who have already flown the flag for GV. The A-side is held down by the Plan B duo of DJ Spider and Dakini9, purveyors of the Metro Area's dirtiest and deepest house sounds. Spider gets toxic a second time, following his 2013 Instruction drop with 'Toxic Trace 2', a thickly layered deep house cut whose seedy percussion underbelly contrasts vividly with the more traditional deep house pads that accompany it. Dakini9's 'Lost Paradise' is dark and mysterious like its title, the hats, trumpets, and vocals emerging in tangled webs of dub effects, a strong follow-up to her dope EP for the label. Disaroen, a duo from Toronto, half of which previously appeared on GV, turns in the most barren of the four tracks, 'Serious Doorman', heads-down techno that crackles to life halfway in and an auspicious debut for a promising new group. Last is NJ heavyweight Nicuri, a rising star whose 'Ripples of Time' closes the EP in his signature searching, melodic style.

cult Italo post-wave group CRISTALLI LIQUIDI are back with another 12" maxi single. This time the production was carried out by the godfather of Italian electronic music Alexander Robotnick with some mysterious intervention from Bottin. SCIAME (Italian for swarm) hits harder on the dancefloor then their previous releases, without losing a single drop of the italo lyrical magic.

Heavyweight soul providers Fat Freddy's Drop are about to take flight once again with the worldwide release of new album Blackbird on 24th June 2013. Blackbird is the third full-length release from the New Zealand band and will see Fat Freddy's Drop exceed half-a-million album sales worldwide, the result of playing over 800 shows in their career-to-date, clocking up 412 appearances in Europe, 27 Australian Tours and over 300 shows in their homeland.

Fat Freddy's Drop celebrate a decade of European touring by releasing Blackbird in East London. The already sold-out show at Village Underground attracted over 4,000 hopeful ticket ballot entries in just 24 hours for only 500 lucky spots.

Featuring nine tracks, Blackbird was written and recorded at Bays, the band's own studio, which was one of the last vinyl pressing plants in New Zealand and then an apostolic church. Fitchie says, 'What you hear on the album is the sound of Bays, the room itself, the vibe of the place and the performance we can get out of the band in there.'

'Blackbird is truer to FFD's musical philosophy than anything else we've done', says Chopper Reeds. 'The song structures are open and unruly - just like our live shows - whilst we've pushed ourselves to deliver rich and deeply layered arrangements that showcase Joe Dukie's exceptional voice. We feel totally at home melding together this unholy mix of disco, rootsy dub, blues, soul and electronic funk - it's what we do.'

Fat Freddy's Drop have released two studio albums, 'Based On A True Story' (2005) and 'Dr Boondigga & The Big BW' (2009), two live albums, 'Live At The Matterhorn' (2001) and 'Live At Roundhouse' (2010) and a stash of limited edition vinyl singles, including the now legendary 'Midnight Marauders' and 'Hope For

Reaching the milestone of its 100th single/EP release, Circus Company welcomes back Aquarius Heaven with a new EP of poignant, uplifting house music loaded with a meaningful message for these transient times. It's nearly three years since Brian Brewster delivered the Parallela Mundi 12', and in that time he has been on a relentless mission to spread his unique blend of house music, Caribbean roots and psychedelic magic across the globe in a whirlwind of live performances and collaborations. In a manifestation of his well-travelled soul, these new pieces call upon traditional influences in amongst the modern motifs that Aquarius Heaven has been built on, while lyrically dealing with the pressing issue of refugees escaping conflict, poverty and famine. The proud drum throwdown and carnival bleeps of 'Bato Chargé' conceal the seriousness of its theme. In Brewster's native tongue Creole, bato chargé translates as overloaded boat. With the Caribbean as equally rooted in the history of displaced humanity at the hands of sinister powers, the groove of 'Bato Chargé' takes on a defiant, hopeful tone directly inspired by the traditional percussive music style Gow Ka. '50 Drops' by way of contrast takes on a noirish tone with its gritty, street-weary tale and nocturnal melodics played out through enchanting arpeggios and warbling leads. Cooling off the tempo and heading into a digi-dub skank that plays off Brewster's roots in reggae and dancehall, 'Marie Galante' takes those same warm synths and runs them through a low-but-heavy stepping landscape; the perfect backdrop to the vocalist's dexterous ramblings on the mic. It's not often you hear Creole New Release Information delivered in contemporary electronic music, with a rare exception being the legendary work of Tikiman et al with Rhythm & Sound in the 90s.

Coming from Geneva (Switzerland) but "napoletano" by heart, Pascal Viscardi is a new face in the deep-house panorama. The 31 years old fellow started his career (as a producer) a few years ago with 2 twelve inches on "The Exquisite Pain", including remixes from some heavy weights : Mark E, Session Victim and Agnes.
For his debut on "Frole Records", Pascal kicks in with a single track. "The Warmest Color" is the kind of cut you might play when the sun shows up and the bodies are ready for the slower and sexiest loops. In a totaly "Modern Swiss Vibe" (Did you say Agnes...) this double kicked tune offers you a straight, extra-shuffled, moodygritty and dubby moment. Is this Love at first sight! Yes, it is...
Our new friend didn't come alone, chosing carefully his remixers to complete your wax in a most accurate way.
On the A side - together with Pascal's "Original Swiss Swing"- we're proud to present you the greek berliner : Kindimmer. If you ask Ralph Lawson (2020 Records), the boss could tell you how talented the young dude is... At least, his record on the inconic label proves it all. Here on our release, Kindimmer offers a subtle and minimalistic approach to satisfy all your germanic house needs.
The B side starts with the german puncher Manooz, well known for his bangers on labels like "Tomorrow is Now Kid!", "Morris Audio", " Housewax ", and more... His version is a devastating big room nugget you should drop if you wanna see your dancefloor burning.
On B2 we have the third remix which comes from a really interesting outsider, our french mate : Toni Be. His releases on "Courtesy Of Balance Recordings", "Soul Notes" and "Rawthenticity" have truely convinced the genre specialists. Concerning his tune : dont look further, here you have the deepest cut of the bunch.

Newly established Berlin-based vinyl-only label Dreiklang dive straight into the physical world with First Contact. The label's distinctive triangular concept is reflected in its name with Dreiklang pursuing a three-fold approach to electronic music. Each release presents three contrasting takes on the same source material, juxtaposing and unifying three particular electronic music sub-currents. For their first outing, Dreiklang call upon an international team of producers with OCH, Hydergine and Kelovolt dropping in for their respective shots of tech-house, dub techno, and dark drone techno. The tight three-tracker will see the light of day on a 500 limited edition run of 180gr high-quality wax with the beautiful hand-drawn designs of Berlin artist Nils Altland gracing each sleeve, transforming the covers into individual works of arts. First up on Dreiklang001 is Londoner OCH (Autoreply / Stuga Musik), who takes a simple keyboard line into menacing territory, steering the dancefloor towards the grittier ends of tech-house. A funky bassline leads the way as distant synths exhale in glossy metalic fashion and the road is adequately paved for the reinterpretations that follow. Second up, comes Hydergine. The Italian producer lives up to his brain enhancement drug name by dropping a smart dub-techno rework where mind-numbing kicks bring the listener on an atmospheric joyride through the deeper ends of narcosis. Kelovolt complete the triangle with an immersive remix where drone-heavy soundscapes take center stage for a delicately hypnotic finale. First Contact is out December 16th on Dreiklang.

Sheffield DJ/Producer Louis 'Taiko' Robson has consistently agitated the boundaries of dubstep music, manipulating eclectic influences in to his productions with bold, original arrangements, intricate percussion, experimental instrumentation and unforgettable subs, and he's not held back with ALBION002.

Title track Splinted dons the A Side of the release and sets the standard high with its heavy sub, percussive melody, and string lead. Robson has taken inspiration from contemporary orchestral composers such as Terry Riley and Steve Reich initiating the creation of the drums and percussion, which add a rich analogue sound to the track, and with that an almighty atmosphere. Folk-like scratchy strings take the lead which is a theme set for the EP and highlights Taiko's tenacity for sound design and disregard for convention. Each eclectic element of the track compliments the next resulting in a guttural, energetic dance floor cut, with dark undertones making the listener feel agitated or anxious. A pulse raiser strictly for sound system use.

Over on the flip side, starting with the outer, Taiko offers a much warmer vibe throughout Fractal, flexing another experimental set of instrumentation, this time round building rhythm with an accordion sample. An enormous rolling sub bass instantly becomes dominant after the short intro and meticulous percussion exaggerates the astounding impact from the drums. In the break expect a much murkier tone with a grimey string sample leading to the second drop. Robson achieves a certain level of feel-good whilst maintaining a dark and aggressive tone in his unmistakably raw track.

Nickel takes the inner side on the flip, following form to the prior with its accordion sample adding a distorted guitar drone for the melodic intro. The acoustic instrumentation couples up with irregular drum work solidifying the EP's 'live' aesthetic, whilst maintaining a dance floor orientation. Tonnes of energy meets masses of bass, Nickel is a recommended set opener and a great close to the EP.

Reissue des Debütalbums (1981) der legendären Psychedelic-Dub-Formation African Head Charge um den jamaikanischen Produzenten & Percussionisten Bonjo Iyaginhi Noah, dessen damals undefinierbarer Sound massgeblichen Einfluss auf experimentelle Bass-Labels wie Hyperdub oder Tectonic hatte. Mit dem Clubfavoriten "Stebeni's Theme" und dem Track "Far Away Chant" aus David Lynchs "Wild At Heart" Soundtrack. Re-cut by Dubplates & Mastering, Berlin, for maximum bass pressure! LP auf schwarzem Vinyl mit Downloadcard und bedruckten Innentaschen mit Sleevenotes von Steve Barker (On The Wire).

Earlier this year, an email dropped into the Claremont 56 inbox. It was from a producer in the early stages of his musical career called Simon Peter, and contained a joyous slice of languid, organic Balearica entitled 'Arc of Lark'. Suitably impressed, Claremont 56 boss Paul Murphy had no hesitation in snapping up the track right away.It marks a new stage in Simon Peter's career. He made his debut in February 2014 with the Double Up EP on Silhouette Music, which contained the shimmering nu-Balearic disco of 'Espacio Temporal'. While that was laden with sun-kissed synthesizers, 'Arc of Lark' is a much more organic affair. Blissful electric piano keys, hazy guitars and fluttering flutes cascade over an undulating live bassline and shuffling, bongo-laden beats. Warm and humid, it's a slice of audible
sunshine to brighten up the grim winter months.Long-time friends of the family 40 Thieves handle remix duties, turning Simon Peter's picturesque original into an effects-laden chunk of slo-mo dub disco goodness. 40 Thieves member Layne Fox loved the track so much that he's also contributed an additional remix that focues the action around a loose, languid, dub reggae influenced groove, spiralling electronics and Peter's mesmerizing flute line. It's a fitting conclusion to a magical label debut.

After last year's well recieved album 'The Phoenix', King Britt returns under his Fhloston Paradigm moniker for the first in a series of 'Cosmosis' EPs. 'Cosmosis Vol 1' is three spacey perfumed hardware workouts of the kind that Fhloston Paradigm built his name on. The EP starts with 'Sonic Six', matching bumping drum machine rhythms with gurgling bleeps, and mournful strings building the emotion through the noise.The second track is the slowly evolving ambience of 'Faith', which builds up into radiant, shimmering clouds of sound before a bass line drops midway, grounding the track melodically and switching the emotion from ecstatic to bittersweet. The EP closes with 'Past', where broken sounds are dragged over a warping piano line, and a flickering static melody engulfs the track as the noise dies out. 'Cosmosis Vol 2' will follow early in 2016 ...

Words Unspoken, Acts Undone. The passing of time, what has been spoken, now unspoken. All that has been, has been undone.
CW/A present their remarkable debut album, Words Unspoken, Acts Undone. Since their inception CW/A have forged a path through the murky world of electronic music, with a number of releases on Vakant, M_REC and their own Parachute Records. Previously accomplished musicians in their own right, Thomas and Francesco joined forces in 2013 to begin a live project that took the act of performance into the club. Shying away from typical setups so prevalent nowadays, CW/A bring to the club a level of live performance which they've now translated into their first full-length.
Weighing in at 11 tracks the album demonstrates the duos musical heritage of early Warp style bass but also UK Jungle and Downwards-
influenced dub Techno. This isn't an album that looks back with any misty-eyed nostalgia, it respectfully brings its nineties influences straight into 2015, seamlessly weaving from genre to genre with an up-to-date element to the production.
If you're expecting an album of rave breaks or straight up 4/4, you won't find it here, but if you're ready to leave behind that which you've heard already, Words Unspoken, Acts Undone will reward you from the moment you drop the needle.
Words Unspoken, Acts Undone is released on CD and 2x12' on Parachute Records.

Following almost two years of driving bass music promotion, in the form of compilation albums, free download round-ups, reviews, guest mixes & mix series CDs, the time has come to transcend from what first began as an online blog into our very own music label. After working with renowned artists such as El-B, Quest, BunZer0 and Phaeleh, as well as fellow promotional platforms FatKidOnFire & Deeper Vibrations - the Albion community has developed and grown to become recognised across the board of the bass music spectrum. This extension of our brand will help in pushing this music even more, enabling us to curate a fundamentally diverse sound beside the culture that we so passionately enjoy.The launch of Albion Collective Recordings is to be set in motion with In Pieces, a collaborative down-tempo effort conceived between Vaun and Jafu which is radiant in textural soundscapes. This particular piece has been doing the rounds as a clip on Deeper Vibrations' YouTube channel since 2013, inducing longing excitement for the song to finally surface.
Bristol based Daniel Brown, aka Vaun, has prospered into one of the scene's most prolific producers, covering multiple styles and turning out numerous releases for MindStep Music, Redshift-One and Soulstep Records. After recently hinting at the imminent release of an album, Brown can also reap in the keepsake of ALBION001 alongside Canadian artist James Fuller, aka Jafu, who likewise has blossomed astutely alongside his soulful Chord Marauders collective.In Pieces falls somewhere amongst immersive trip-hop and jazzy 2-step, an affectional arrangement that makes wonderful use of Marvin Gaye's a cappella in his classic Sexual Healing. The composition will certainly induce healing of the cerebral kind, with its stripped and delicate percussion work, dubbed out horns and soothing string sections. Encapsulated within Vaun & Jafu's musical offering is our label's statement of intent. That is, to champion unique music that emanates elegance such as this collaboration - and such as J.Sparrow's remix treatment. Ryan Wild aka Jack Sparrow, a Deep Medi Musik signee and one half of dubstep extraordinaire duo Author, has granted the scene with his tenacity to build profoundly stunning electronic music. Wild has the tempo notched up for his In Pieces edit but remains true to Vaun and Jafu's approach in the sense of its lavish spatial touch. The atmospherics breeze over with a soft vibrancy, as the electronic guitar solo recording from the original plays over the initial main section charmingly. This is all resulting in a simply sumptuous mix which goes right up there with his top drawer remix work for Annie Drury and De Niro & Y. To compliment J.Sparrow's sublime contribution and to also complete the package, the Black Butter Records assosciated and Bristol-based outfit Sly-One have whipped up an outright banger of a remix. Joe Cannon, Dave Constant and Oliver Read can already boast an admirable set of releases in the four years since they've joined forces, featuring on Shifting Peaks, Lost In Translation and 877 Records. Add that to a rude collaboration with fellow Bristol head & rasta emcee Buggsy and a remix for Bad Mojo on Meanbucket, Sly-One had clearly meant business from the offset - and have shown absolutely no let up for us at Albion Collective. Served with a side order of the trio's classic subtle cowbell hits, their 2-step/bassline fusion works wonders with the vamped-up vocal sample and is ready and waiting to rumble clubs & festivals for this summer and beyond. Early DJ support for the release has been noted from artists including Phaeleh, Quantum Soul, Thelem, J. Robinson, Walsh, K-Man, Nanobyte, Syte, Trashbat, Majora and D-Operation Drop & Foster. Radio airings to date stand at Sub FM on the BunZer0's legendary FOB Show, BBC Introducing showcased the release and Monki played the Sly One Remix on BBC Radio 1 Extra. The almighty
Dubstep duo Truth added the J.Sparrow Remix to their recent 'Chronicles' mixtape on Soundcloud, which was posted to their 75,000 plus following, Biscuit Factory Records owner and dubstep legend Walsh opened the edit on his latest podcast and J.Sparrow is set to showcase the version in a mix for the iconic Deep Medi label. Support is confirmed from digital publications such as FatKidOnFire,
GetDarker, Trusik and MTV Wrap up, which will involve a number of featuresm reviews, track premieres and artist spotlights. A review will also be printed in November's edition of Mixmag on Tomas Fraser's Grime/Dubstep page

'We Start Over' arrived on the desks at International Feel and it felt perfect for us. Deep electronics, a lovely mood, forward thinking and a gorgeous vocal from Trudie Dawn Smith. Lots to play with from a remix perspective and a great original track in itself. Steve Cobby is a British producer, musician, composer, and DJ, based in Kingston-upon-Hull, Yorkshire. He co-founded Fila Brazillia in 1990 and released 10 critically acclaimed LP's and produced over 70 remixes for artists as diverse as Radiohead, Busta Rhymes, Black Uhuru and A Certain Ratio. Cobby now releases music via his own label Déclassé label. His latest and third solo LP 'Saudade' was released in March 2014 and received considerable critical acclaim.

The first 12" consists of the original version and on the flip a remix by Apiento & Lx (their first track together since the underground classic 'The Orange Place' ). The remix is slow trance in its purest sense, made for lasers and dark nightclubs. It's already receiving club play and has been named by Andrew Weatherall and Sean Johnston's ALFOS as "one of the records of the summer". High praise.

On the second 12" the reins have been handed to Gerd Janson & Phillip Lauer a.k.a Tuff City Kids - two people making some of the finest house at their at the moment with Janson also getting massively known globally for his DJing. Their remixes are made for the clubs. The 'Garage Dub' is classic New York house that is as deep as you like and one of those hooky ones that does everything perfectly. The other, 'Private Acid Mix ' goes heavy on the beats and drops the 303 in a fine style with the vocal looped and twisted.

As you would expect from International Feel this is classy and classic club music covered from all angles from a balearic original, a deep chug remix from Apiento & Lx and the Tuff City Kids bringing the house vibe. Deep deep deep.

Rich NxT helms the next release on the Fuse London label, with his 'What's In The Box' EP, the 3rd solo EP from one of the parties chief residents. This release brings yet more variety to the NxT stall with a classic feel on the A1 track, 'Defy' where he kicks things off with his trademark, crisp beats and razor sharp percussion riding over the dubby low end, then opening out into lush pads and a vocal that never fail to raise the atmosphere, proving popular with people everywhere.

'Mylove' is the release's vinyl only track and is an understated anthem, once again delving deep with brooding bass, paired with drum snatches echoing that of his early jungle days. When the tripped out male vocal and percussion builds into the drop and counter melody, all the elements align in that unique NxT fashion. Over on the flip, 'Twang' has become another firm favourite with audiences, calling again on memories of old school rave combined with a rolling, edgy groove, whilst 'Cannonball' finishes the EP off in fine style with a slab of atmospheric wonder perfect for those early morning sunlit sessions.

LX ONE returns with another stirling release in the warm up to dropping his much anticipated debut album on Wheel
and Deal. Reflect has had constant support from N-Type, Youngsta, J Kenzo, Icicle and Faze Miyake. It is the logical
progression in the style and quality of LX One's signature dark, minimal sound. This release once again puts his
productions at the pinnacle of modern Dubstep. Distorted Politics is a fresh tribal banger with rib shaking bass and infectious percussion. Once again this has featured massively in N- Type, Youngsta, J:Kenzo, Icicle & LX One's DJ sets, and is another testament to his talent.

After his release on Sunday Music the german Deephouse talent comes up with a new release on Mule Musiq.
his real debut 12" on henrik schwarz's sunday music was highly acclaimed. he is a member of henrik schwarz band.
henrik suggested me to ask him make the record then johannes delivered me this killer vocal tune.
it was secret weapon on mule summer tour, when this track is dropped, people went to crazy even nobody know this track....
original version is definetly peak time tune and dub version is cool dj tool.
there are live version for digital customer.
enjoy!!

Poker Flat Recordings has long held a talismanic role within the house and techno underground -responsible for countless classic moments and pursuing a vision that propels the scene ever forward.




Here, Dutch DJ and producer Wouter de Moor continues this rich tradition, dropping an essential release for Steve Bug's ever-important imprint. The Lectures E.P features the words and wisdom of the ultimate DJ's DJ and king of the underground - Theo Parrish. Wouter de Moor's original mix intertwines a driving house groove and insistent synth riff around Mr Parrish waxing lyrical about the art of DJing, producing and life in general. The vocal track is also provided as an accapella for DJ's looking to spice up their own sets or productions, while a pair of remixes come courtesy of scene stalwart Kirk Degiorgio. The Brit delivers a vocal and dub that hit hard- toughening up the groove and taking the track further in the realm of late night main room vibes. The EP is rounded off with 8 Voice- a knowing nod to the old school with firing percussion, tight snares and a filthy warehouse-ready bassline.



[C] B1 | Lectures feat. Theo Parrish Words (Kirk Degiorgio Remix)

Alex Niggemann's 2012-defining long player 'Paranoid Funk' dropped in June to a rapturous response from DJs, dancers and home listeners alike. Here, Poker Flat Recordings revisits some of the exceptional highlights of that record, and deliver a remix package sure to be as equally sought-after by those in the know. 'Paranoid Funk' saw the Berlin resident explore a variety of grooves and textures, an experiment that won him many new admirers and a great deal of critical acclaim. Here, some of the hottest remix talent in the scene get their hands on the originals and twist them into new shapes. Following on from releases on Cocoon, Kling Klong, Circle and two strong EPs on Poker Flat ("Dinosaurs' and 'This") renowned producers Alex Flatner and LOPAZZ take on 'Don't Wait' and drop a growling, main room monster that will standout in any set. Francys, the young Italian making quiet a name for himself on the underground house and techno circuit, lends his skills to 'Back 2 Basics feat. Benji' - channeling the spirit of the early 90s into seven ecstatic minutes. Next up is Salvatore Freda - the highly respected Swiss DJ and producer who injects Niggemann's 'I Don't Care' with a narcotic groove that sits somewhere between Detroit and Berlin - the dubbed out vocals adding an element of otherworldliness that work in perfect compliment to the track's twisted (paranoid) funk. Berlin's own Andre Lodemann picks out 'Lovers' for his excursion, a deep bomb that grows and grows around an exceptional vocal from John Rydell - this is one for the very late nights or early mornings. What is clear from this release is that Alex Niggemann's star continues to rise - the classical pianist turned producer and DJ extraordinaire is moving on to the next phase of his career - and with the slew of outstanding releases to his name already, who is to say where that could lead. Tracklist:

Terror Danjah's second Hyperdub album is 'The Dark Crawler', a well-paced and much more upfront and energetic journey through his musical world than his debut 'Undeniable'. The album revolves around the 'Dark Crawler' theme, a blistering grime track that pops up several times, vocaled by MC's Riko Dan, Mayhem, Deadly and Saf One, and then lastly Trim and Kossie. That's not to say the album is one dimensional or relentless. It's subtley balanced with the 'Dark Crawler' thread of tracks allowing the album to spin off in a web of directions without losing any focus. It's a much more contained body of work, paced to keep the listeners interest. From the 'Dark Crawler' intro into the cartoonish horror soundtrack of 'Mirror's Edge', which tricks you into thinking its just any dubstep tune, before scattering into Terror's signature broken kicks and claps. 'Dark Gremlinz' featuring D.O.K. is a classic peak-era asymmetric grime instrumental. The album then drops down into the 130ish speed of 'Air Max 90' featuring Champion, which builds from a soca-like drum drill stretching the rhythm to the point of collapse with a wonky synth, before concluding on a driving baseline house 4/4. The first 'Dark Crawler' vocal is next, with a ferocious performance from veteran Roll Deep MC Riko Dan, who drops bloodthirsty threats at a breakneck pace. Next, the tempo drops down again to the drunk funk of 'Full Hundred', with criss cross claps and a rasping bassline breaking down into live drumming and tight trap door edits. Things speed up a little again with the intricate 8 bar funky of 'Rum Punch', a hard drum tattoo rolling out over a heavy detuned bassline and intense bleeps. On the second 'Dark Crawler', mic duties are shared by Birmingham MC's Mayhem , Deadly and Saf One. Their hard vocals contrast with lush styled R'n'B of 'You Make Me Feel' featuring Meleka. The album then rolls out into the galloping drums and smooth G-Funk synths of 'Baby Oil'. Trim and Kossie drop the final 'Dark Crawler' vocal, with Trim dropping deadpan threats contesting with Kossie's focussed hysteria. Next up 'Delicately', with Ruby Lee Rider, starts in slow motion R'n'B mood, sweet Rhodes chords drift and bubble up as the track doubles up into dreamy drum and bass with a fluttering tabla keeping the time, and Ruby's tender vocals tempering the pace and aggression. Overall, it's a brilliant exercise in breathless rhythmic arousal. 'Moschino', on the other hand is a darker, chunkier and grimier mirror image to 'Delicately', switching up into a ferocious metallic riffage, before the album closes on an outro of 'Dark Crawler' again. Form, function, energy and talent fuse perfectly over 'The Dark Crawler' s length. Enjoy the ride.

Brighton's Dismantle second single with Wheel and Deal once again delivering his multi genre club smashing sounds.Destroy: Destory is the angry big brother of his first Single Computation & Word Dance! Dismantle delivers the goods again with his bouncing Electro / crack house step. The bit crushed vocal 'Destroy' breaks the epic build to a monster drop that gets every dance floor screaming for the wheelers! This track has been smashing it worldwide with support from N-Type, Hatcha, Mistajam, Shy Fx, Hizzle guy & Kutz to name a few.Computation VIP: The previously unreleased Dubplate! This wasn't going to see the light of day! A staple in the bag of N-Type, MistaJam, Hatcha, Soap Dodgers, Benton, Walsh & The Others! A sick little rework of the original track that launched Dismantle in to the limelight last year. Dismantle is join from strength to strength, and is a force to be reckoned with in 2012.

The new Wheel and Deal production partnership between N-Type and Surge, releasing their 1st EP: September Sun.A: September Sun ft Pyxis - After the success of Surges first single with Pyxis (Leech), she once again delivers her signature vocal style, this time laid down on the fresh and original collaboration between Wheel and Deal label head N-Type and rising star Surge. The combination of production styles has built a fresh take on the dubstep sound. This featured in N-Types mini mix for Mistajams Radio 1 show earlier this year, with continuous radio support from Hatcha at Kiss 100, Mistajam, Walsh (Biscuit Factory Records) and N-Types Rinse FM show, every Tuesday 9-11pm. B: Mega-Tron - Featuring live guitar from Jonny Boltano, showcasing a different side to the duos production skills. Rolling rock style drums and build ups drop into a continuously transforming bassline. As the the track develops, the influx of the orchestra ends the track dramatically. Being battered by Hatcha at Kiss 100, Soap Dodgers, Laxx, Walsh, N-Type & Surge. This also featured in N-Types mini mix for Mistajams Radio 1 show earlier this year.C: Triangles - Old school Jungle/DnB, dub and techno influences rain through in this track. Dark & atmospheric, this could easily be a soundtrack of horror film proportions. The Bass is thick and punchy with the eerie sample 'Dark Triangles!' slicing through the darkness. Support from Mistajam, Hatcha, Soap Dodgers, Walsh, N-Type & Surge. D: Zombie Apocalypse - This one is more on the jump up side, proving the diversity in N-Type & Surge's production style. As the zombies approach, tension builds to the drop with the dramatic sample 'This is the End'. The bass is weighty and growling, like a blood thirsty monster. The second drop steps up the pace with a staggered, automated bass rinse out.

UK stalwarts Jamie Anderson and Owain K team up again for another sumptuous slice of contemporary house music on Steve Bug's Dessous Recordings. Jamie Anderson has been exploring and manipulating the links between house and techno for over 15 years, having released on numerous influential labels, both solo and as a collaborator with other top artists. But it's his work with Bristolborn hot-property Owain K that is currently exciting discerning dancefloors worldwide. 'Do You Know', their latest collaboration, sees Jamie and Owain drop some serious sunshine grooves - shuffling hi-hats and a classic, Chitown synth let you know that this is all about the good times. The spoken word vocal pays homage to forgotten jazz legends - the uplifting vibe sure to put a smile on the faces of dancers all summer long. Jamie and Owain switch it up on the other main track in this release. 'Keep It Pumping' drops the tempo to 118bpm and digs its toes into the sand for a balearic-tinged nu-disco stomper. Disco toms fire, the sub bass rumbles, and spacey synths and vocal samples wash over this expertly crafted sunrise/ sunset groove. A dub of 'Do You Know' rounds off the release from this hugely talented combo.

New Kanada enters the third season with two white hot electronic tracks. "White Mouse" is an acidic stormer which winds it's way from old-school house - into serious dark club territory. With a shifting, swinging bassline, tough metallic toms and some killer drops - this one is a weapon in the mix. Sounds like Tevo Howard meets Luke Slater. Kind of. "Spectrum"'s deep, digital radio dub floats freely - somewhere between Baby Ford and a broken FM receiver. Drifting melodies, haunted white noise and serious house beat. A track for late night driving, and early morning warmth.