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New York City has had a long history of dance music fused with confrontational performance. Whether it came from within the late 70's No Wave canon projected through venues like the Mudd Club or the downtown avant-garde galleries such as The Kitchen, the feeling that influences and infects Brooklyn-based duo Wetware's overall being as a cohesive and confrontational unit is as much enigmatic as it is familiar. Formed in 2015, Wetware eased into its performative role with their live shows around their home base of Brooklyn, NY.

Vocalist Roxy Farman, who's familiar voice was last seen on Drew McDowall's 'Unnatural Channel' album, stole audience's attention from the moment they started, using her body in tandem with her voice as a weaponised vehicle for the band's anxiety filled performance. Matthew Morandi cut his teeth in the electronic music world through his solo tech-industrial project Jahiliyya Fields and partner to Inhalants, the techno collaboration of Morandi and Max Ravitz (Patricia). The synergy that developed between Farman and Morandi has been explosive. Wetware's live antics and behaviour has caused alarm and envy amongst their local audiences, causing Wetware the group to 'not be missed' on any particular bill that they are allowed to take part in.


Wetware stepped out from their live persona and self-recorded a selection of songs that viewers had grown accustomed to and were debuted on the flawlessly curated Primitive Languages imprint. Shortly following their recorded premier was an EP collection of demo recordings on the much praised Bank NYC label. Once the band reconciled with documenting their work, they set out, with the help of engineer Kris Lapke (Alberich / Hospital Productions) to formalise their most recent output in the context of their first full length album entitled 'Automatic Drawing'.

Given Wetware's penchant for endurance, as displayed by their 3 hour long production at Koenig & Clinton Gallery in the Summer of 2017, one would expect the usual restlessness on Wetware's debut full length. All of the apprehension and unease in Wetware seems to have been channeled into a string of cohesive electronic statements found on songs 'Frequent Dreamlands' and 'Ode to Joe'. Industrial dance rhythms bounce around Farman's poetic stance on 'Where Ever You Were', causing flashbacks of an early 80's dystopia that jumps around a confusing, uncomfortable backdrop. Inter-spliced with modular electronic instrumentals like the album's opener 'Pantomime', Wetware's devastating portrait is that of a society in peril.

It was May 2017 when Earthboogie's debut release dropped on Leng. The soundsystem-loving East London duo rightly won praise for a fne EP that brilliantly joined the dots between all things intergalactic, terrestrial and tribal.
Having spent the last ten months recording their adventures, Izaak Gray and Nicola Robinson return with Silken Moon', the frst single from their forthcoming debut album, Human Call.
In typical fashion, Silken Moon' cannily combines musical elements from a myriad of styles - most notably Afro-disco, samba and mid-tempo Chicago house - to create a humid hybrid that defes easy categorization. There are bouncy organ riffs, undulating acid lines, clipped Afro-funk guitars, tons of tropical percussion and the chanted, carnival-friendly vocalizations of guest singer Nina Miranda.
The release comes backed with remixes from two members of the extended
Leng family: long-serving producer Felix Dickinson and Turkish rising star Ali Kuru. Dickinson sticks close to the original of Silken Moon' with a mix built around gently jacking machine drums and Earthboogie's sweaty guitar licks while Kuru takes Human Call' in an altogether more cosmic direction. Pushing the track's psychedelic TB-303 lines and tropical textures to the fore whilst
adding his own mind-altering electronics - most notably a fat new synth bassline - Kuru cleverly re-casts the track as a pulsating, late night throb-job.

Part of the current crop of artists spearheading the UK acid revival, Posthuman's output has evolved over the years, encompassing many genres & styles from their early electronica releases, to their later acid & slow-mo techno.

Their debut release in 2000 was a series of hand made CDs simply called "Posthuman" (though better known by the colour of the card inserts - grey, black, blue and brown). The duo then went on to host a number of parties in an abandoned underground train station in London between 2001 and 2004, and founded their own label Seed Records (2) with which they released 3 albums and several other releases of their own and other artists material. They also were the first act on Manchester based imprint Skam's SMAK sublabel.

Doherty left Seed Records to help relaunch UK techno imprint B12 Records in 2006, and started a new label Balkan Vinyl in 2010.

In 2007, Doherty founded London-based acid house retrospective clubnight "I Love Acid", where Posthuman are monthly resident DJs. In 2014 the clubnight launched a vinyl-only label of the same name. He also performs as AGT Rave Cru and as one half of Altern 8 live shows since 2015.

To celebrate the 10th anniversary of Dekmantel's goings on in the world of events, festivals, and great music, the team behind the label have been releasing a record a month featuring some of their favourite artists, as part of a ten-year anniversary series collection. Featuring acts close to the label's collective, debuts, and legacy talents the crew have always wanted to sign, the series has seen the likes of Gigi Masin, Call Super, Fatima Yamaha, and more. This penultimate EP, sees Dekmantel debut releases by Lena Willikens, Space Dimension Controller, and Dutch lo-fi star Betonkust and Palmbomen, in addition to a special cut by Bufiman.The EP kicks off with a new track by Salon Des Amateurs resident Bufiman — real name Jan Schulte — who also goes by Wolf Müller. 'Hymn to the Moonface' ensures that percussion comes first and foremost, in this upbeat, prog-breaks, jaunty, summer cut following up on his Dekmantel debut "Peace Moves". Dutch duo Betonkust and Palmbomen release their first track on Dekmantel with 'Onrust Bij Tihange' - an ode to the Tihange Nuclear Power Station in Belgium. Specialists in crafting lo-fi, nostalgic sounds, Betonkust and Palmbomen do what they do best, with a pulsing, analog, nostalgic electro track that sounds as if its been fed through a VHS player, a top of recording of Miami Vice. What happened at Tihange through is another question. Belfast-producer Space Dimension Controller, a.k.a. Jack Hamill adds some galactic, space-flare, mid-tempo, D-funk to the flip side. With a debut EP dropping on Dekmantel soon, SDC contributes one of his most beautiful compositions to date, highlighting his flair for melody, blending it astutely together with rich techno hat and snare combos. Concluding the record, is Dekmantel favourite, Lena Willikens. After so many appearances across so many of Dekmantel festivals, it's a pleasure to have the astute selector release a rare production on the label. Willikens' dark wavey cut is something one would expect to hear in one of her sets, sounding like a modern take of a long-forgotten, and unknown krautrock band.

Another kicks off 2018 with its first release. We are very happy to welcome Kenneth Scott (from the former duo Moniker) who
delivers a stunning 3 tracks EP with a deep electro and deep house feel. Straylight feat Dave Aju has been remixed brillantly
by the one and only Kai Alce. Analog warm textures and efficient grooves all along this ethereal masterpiece.

As Weekend Circuit approach their 20th release, Argentinian duo YYYY return for their second full length EP on the label to celebrate this benchmark.

The YYYY modus operandi is already familiar to the initiated - expressive, raw techno experimentalism from the outer reaches. 'Carry This Blood' is a collection of 4 moods and sounds, carved out with emotion soaked ambience, synapse flaring distortion and machine fracturing rhythms.

'Repent', as the title suggests, takes no prisoners, leaving no survivors in it's wake, it is a glimpse into a tear in the time-space continuum where chaos rules. 'Hands Towards The Giver' is epic, glacial, spacial widescreen techno. Dramatic and urgent, the soundtrack to a doomed planet collapsing from within.

'Carry This Blood' bestows an eerie, cold feeling. An atmosphere of regret and loss hangs over it like a thick fog on a hillside, punctuated only by a heartbeat mimicking kick drum offering a human touch. 'Of Thrones And Comfort' snaps us out of the haze, the fog clears and we are faced with the frenzied electronics and thundering kick drum of this most sinister of tracks.

With its seventh release, NEW YORK TRAX welcomes the revival of John Selway's 'Semblance Factor' alias. Selway became an indispensable element of the history of the New York sound by virtue of building an extensive catalog of high quality releases spanning almost three decades and multiple genres of electronic music. From his first electronic band Chaotic Sound Matrix, to his major contributions to the early productions of Deep Dish; from his first success in the techno world as part of the seminal New York duo Disintegrator to the most successful of his collaborations, Smith & Selway, and his deep and minimal techno label CSM; from the intelligent electro-funk of Synapse and Serotonin Records, the electro and synth-pop of Memory Boy to the wild improvisational eclecticism of the Rancho Relaxo Allstars, Selway has created one of the richest bodies of work in the world of electronic music.

'Defiance EP' is a venture into hard-hitting electro, acid, and raw industrial-leaning and experimental sound. Below the intense threshold of sound, there is a message for today's complacent society...

As one-third of Yellow Magic Orchestra and an Academy Award-winning composer for his work on the soundtrack for The Last Emperor, synth pop innovator Ryuichi Sakamoto is among the most groundbreaking artists to have emerged since the late 70s. A musician's musician, Ryuichi Sakamoto has created intriguing musical unions with artists such as David Sylvian, Iggy Pop, Tony Williams, Bootsy Collins, Jaques Morelenbaum and many others.

Following the massively successful release of the electronic masterpiece async in 2017, Ryuichi Sakamoto's first studio album in eight years, Milan is proud to announce the remix compilation async remodels: a dozen remixes of async's tracks by a who's-who of experimental giants - everyone from Icelandic composer Jóhann Jóhannsson (Arrival, Sicario) to Oneohtrix Point Never (composer of Good Time) to Arca (producer of Björk's numerous releases) have gotten their hands dirty remixing Sakamoto's work. Even reworks by the Canadian synthpop duo Electric Youth and Austin-based synthwave legends S U R V I V E are included. With such a well of talent reinterpreting such a personal album, this is one release Sakamoto fans can't afford to miss.

Phantasm is a new vinyl label and collaboration between Amsterdam's Sinchi Collective and the much-admired Night Noise outlet, based in Geneva. It kicks off with a strong EP from The Soviet Union aka Richard Baldwin, including classy remixes from Sinchi themselves and In Flagranti.Baldwin has a signature style that is cinematic and synth heavy and has been formed over the last decade plus. A fine DJ, experienced promoter and self-confessed addict of vintage analogue synthesizers and drum machines, Richard pulls his influences from early electronica, 80s film-scores, and shades of techno right up to the present day. This track was first written on a cold evening in December 2010 using a Roland TR707 and JX8P Synth. After collaborating with his songwriting partner the track was given a haunting vocal and released as 'The Disappearance of Becky Sharp', while the original remained on Baldwin's Soundcloud and got ID requests from all over the world. 7 years later it comes back to life in the form of its original instrumental, with a 2017 rework, plus remixes by Sinchi and In Flagranti.The superb original is a perfectly spaced out and a retro-future bit of synth heavy electronic music. Arpeggiated bass props up rueful chords and icy percussion brings that essential cosmic vibe. It's a timeless track that overflows with emotions and is sure to really make a mark in any DJ set thanks to its rich musicality. The 2017 Rebuild is even more lush and zoned out with sombre chords forcing you to reflect on the deeper meanings of life. In Flagranti—the Codek Records duo based in Switzerland—then lace in some hip swinging claps and make this one a deep disco track that is riddled with little synths, chords and melodies that exude warmth and sci-fi soul. Last of all, Amsterdam's Sinchi cook up a storm with corrugated basslines, long tailed pads and turbulent solar winds that make it that bit darker and moodier. This is a brilliant package of emotive music that is a real statement of intent.

Jonra & e:machinery are an electronic music performance and
recording duo comprised of long time Los Angeles based Designforms
Research label boss Jonra Babiracki and electronic music artist Eric Cowden aka e:machinery.

Combining analog hardware, software and processed vocals in a live performance setting, their music spans many styles including techno, house, acid, darkwave, and electro. Their improvisational technique results in tracks that twist and turn, keeping the listener's ears perked while always encouraging the dance floor. With releases on Designforms, Blaq Records, Superfreq and now Chem Club, this veteran duo plans to continue on their path of proud abnormality.

Frenzied and unhinged, the Ritual Casting EP by Jonra & e:machinery is the third vinyl release by Oakland based label Chem Club Records. The title track, Ritual Casting, coils into a bottom heavy head spinner that takes a left turn towards the end. The second A side track, Take A Trip, is indeed just that, a roller coaster ride using their signature vocal style paired with classic bass and percussive sounds. The DJ friendly B side kicks off with Douchebag Frog, a bubbling bass sequence centered track with pad stabs that get bounced around by those eerie vocals again. Lastly, Catch Me If You Can, with a heaving acid bassline, is a sure way to end the EP with a bang.

Calendar Crowd was the duo of Alan Heaton and Terence tiernan who met in their hometown of Widnes, Cheshire as schoolboys and played together in various bands in the '70s. In the '80s they formed a 6-piece band called Room For Humans 0and recorded one single'Telephone Telephone / Girlfriend'. When the band split and Alan and Terence continued as Calendar Crowd in a more experimental direction. Their influences were wide reaching: Kraftwerk, Neu, Cabaret Voltaire, Eno, PIL, and Joy Division.In 1982 they released their debut single 'Perfect Hideaway/Perfect Hideaway Dub' on 7'. Guitarist David Knowles joined them as they toured the UK and recorded and released their follow up EP 'Listen in to the Heart' in 1985. A reviewer at the time called Calendar Crowd 'A Moody Merseyside trio with strong atmospheric tunes and haunting lyrics.' For this reissue we've compiled both singles on one EP featuring all four songs. Perfect Hideway is a evocative and dreamy, the music escorts you on a tour of icy landscapes, with Terrance's deep, rich vocals guiding the way accented by bright brass stabs. Meanwhile the Dub has stripped back the vocals, added delayed samples and heavy pounding drums. On the B-side 'Listen in to the Heart' and 'Questions Answers' are darker electronic rhythm tracks with layers of ethereal keyboards and guitar melodies. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in an exact replica of the original Perfect Hideaway jacket featuring black and white October 1982 calendar with the tile hand written in red pen. Each copy includes a double-sided 8x11' insert with lyrics, notes and photos.

Going Good's first release of 2018 is indeed a very special one.

Cosmic Handshakes sees the pairing of 2 extremely talented Detroit natives - Blair French & Todd Modes - who take elements of Disco, Techno, Jazz, House, Afrobeat, Latin music, Dub and Electronics and filter them through their own unique view of dance music. Steeped in soul, live instrumentation, sampling and analogous alchemical studio processes, French & Modes give us an exhilarating and fresh take on the deepest smoked out, after hours sounds of the city of Detroit.

'In The Mist' is the duo's second release, following on from 2013's 'The Delicate Details', released on the M1 Sessions imprint. The last 2-3 years has seen the pair individually release music on a plethora of varied and esteemed global labels such as FIT Sounds, Claremont 56, Rocksteady Discos and more.


A compelling body of work from front to back, the tracks on 'In The Mist' work perfectly as a self contained home listener, or as we've found, just as well on a darkened dancefloor, leaving the choice up to you, the listener.

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

Hailing from Mali, Amadou Bagayoko and Mariam Doumbia first met as children at Mali's Institute for the Young Blind—both lost their vision at an early age. It was here that they started performing in the institute's Eclipse Orchestra, eventually marrying and began recording together in the '80s.

Over the span of three decades Amadou (guitar and vocals) and Mariam (vocals) developed an international following having recorded eight full-length albums and toured around the world. Their album Welcome To Mali (2008) was nominated for the Best Contemporary World Music Album' at the 52nd Grammy Awards. Tour highlights for the duo include supporting U2 on their U2 360 Tour, performing at the 2010 World Cup for FIFA's Kick-Off Celebration and performing alongside major acts across multiple genres such including Blur, Coldplay and Pink Floyd's David Gilmour.

The album also includes the hit single Bofou Safou,' which Stereogum calls the funk, the whole funk, and nothing but the funk.' The band discussed La Confusion and performed new music on a recent stop at KCRW's Morning Becomes Eclectic' during their recent sold out North American seventeen city headline tour — watch HERE. The band played major markets including New York, Los Angeles, San Francisco, Chicago, Washington D.C., Philadelphia, Montreal.

Amadou & Mariam recently released the Bofou Safou EP via Because Music. The EP includes the first two La Confusion singles, Bofou Safou' and Filaou Bessame,' alongside remixes of the EP's title track by Fatima Yamaha, Africaine 808, Henrik Schwarz and more. The term bofou safou' is a Bambara (the Malian national language) nickname given to nonchalant young men who would rather dance than work. Of the new EP, the group notes, We really like the remixes that were made for the EP. You get to hear our music in a different form, which is great. All five remixes manage to catch the essence of our song while really pushing those enticing afro pop and electronic vibes further.'

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

Villa Åbo in the alternative solo project of Swedish musician and Villa Åbo in the alternative solo project of Swedish musician and producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg. 'Magnetic Moves' is Villa Åbo's debut album, originally released inan limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in at over 46 minutes, this first-ever vinyl edition spreads the 8 ragged techno tracks across four sides for maximum loudness. Some songs are aggressively potent, with cyclical synth riffs and razor-sharp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg.'Magnetic Moves' is Villa Åbo's debut album, originally released in an limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in atover 46 minutes, this first-ever vinyl edition spreads the 8 rgged techno tracks across four sides for maximum loudness. Soe songs are aggressively potent, with cyclical synth riffs and razor-harp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.

Visible Cloaks' Lex proposes a utopian dream language and its accompanying sound, a limitless, delicate space developed by fluid musical techniques and subconscious voices. The six pieces comprising Lex simulate a more peaceful future, their mysteries telling a new tale in an unknown but imaginable melodic language. Visible Cloaks are the Portland-based musicians Spencer Doran and Ryan Carlile. Utilizing software-based composition rooted in randomization, MIDI-translation and chance operations, the duo has established an improbable humanist mode of music from esoteric processes. Following their self-titled debut album, Visible Cloaks offered Reassemblage, an album simultaneously honoring the post-Yellow Magic Orchestra school of avant musical adventure and diverging from it. Veering from the paths cleared by Japanese and Italian electronic pop and ambient artists of the mid-80s / early-90s, Reassemblage established Visible Cloaks' own camp in a forest of deep sound canopied by trees grown from synthetic seeds.The sound represented on Lex is webbed with sculptural arrangements and interpolated by the sounds of alien speech. These strange and serene utterances were created by Doran feeding a chain of multiple dialects and accents through a language translation software to create an auditory poetry of an evolved place and time.

Lex features both the final version of this process and earlier, simplified experiments with it ( Keys'). The idea - building on 'fourth world' or 'global village' type concepts - was to create a projected language that was a fusion of many,' Doran explains. The result was a very disorienting form of non-language that amplifies the lapses in meaning that occur with the inaccuracy of auto-translation software.'

Permutate Lex, a companion short film to Lex made by Visible Cloaks in collaboration with artist Brenna Murphy (who also created the artwork for Reassemblage and several virtualist videos for the album), is an integral counterpart, both visualizing an aesthetic alive with human form and guiding the sonic experience of the first five pieces: Wheel,' Frame,' Transient,' Keys,' and title track Lex.' World,' the longest piece presented on Lex, is redrawn from a generative composition originally produced for an installation Doran made with Murphy.

The original work incorporates LFOs and randomized MIDI-information, and was intended to variate indefinitely. In this 'fixed' version, World' provides a more conclusive view into the impossible musical environments Visible Cloaks make real. Longer than any track on
Reassemblage, World' expresses the deepening, patient intimations suggested by Lex.

Doran says the Lex attempts to communicate the essence of a world distant enough that it can't be captured or comprehended from the present, appearing only surreal and inscrutable.' The statement reveals a broader musical philosophy fueling this new moment, an awakened voice woven through complex melodic shapes and phrases establishes communication between listeners and the unknown, here presented by Visible Cloaks as sounds coloring the very edge of the envisionable.

The night is what makes a big city come to life. Right after sundown, the hectic buzzing of downtown makes way for adventure playgrounds, bathed in neon light, revealing their countless chances and opportunities. It's when you'll find the subway spitting out it's purpose seeking passengers by the minute. A coming and going of restless people passing through. All it takes is a few hours, before the sunrise makes it all disappear. Mental Bend captures the magic of that very moment in their dreamy soundtracks. If you close your eyes, you can see blurry pictures passing in slow motion, accompanied by their atmospheric songs. Grainy black and white snapshots, fragments of memories lighting up somewhere in the farthest corner of the cortex. 'One Step' is the Berlin-based indietronica duo's visually vivid debut album, released on Enfant Fenou. Mental Bend are all about letting go. Sissip (voc/synth/bass) and Hendrik Havekost (beats/production) know how to trust their instincts, crafting their hypnotic signature sound, somewhere in between electronica, ambient and dream pop. Before founding the band in 2013, the two were already shaping their skills in all kinds of different formations and styles of music. As soon as they got together, they had a viral mini hit with their song 'Take My Hand', praised on various tastemaker blogs and generating over 100.000 likes on Soundcloud in no time. The band's first long play record 'One Step' is all about important experiences and decisions, small as well as big steps, all a part of making progress, which in the end can even be life changing. It was a step, that recently got Mental Bend their record deal on Mo's Ferry's sub label 'Enfant Fenou'.

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

Kalakuta Soul Records joins forces with waf80music to proudly present Kai Niggemann's solo debut, an all original album of outrageous poetically abstract music created live and without overdubs on a Buchla 200e Electric Music Box, one of the rarest and most sought after electronic music instruments. Working on the platform since 2013, Kai Niggemann has become one of Germany's leading artists who perform live with a Buchla 200e. His style is an electro-acoustic storytelling, a clubby dreamscape and a poetically-abstract kraut-infused energetic mix of new Elektronische Musik with contemporary club culture. Nerds love the technology and clubbers love the throbbing drive of the basslines. It's all improvised and recorded live in Berlin — yet it sounds meticulously crafted in a dark basement studio throughout the entire last winters. Kai is a member of the 30-piece kraut-noise-jazz collective "The Dorf" and the electronics duo "The Last Books" (with Achim Zepezauer), performs and records with Mia Zabelka (Vienna) as "Redshift Orchestra", cofounded the internet-computermusic "European Bridges Ensemble" (EBE, e-b-e.eu) and the electroacoustic duo "Resonator". His most recent releases were the CD/vinyl "Lux" (feat. the noise drone artist N), "EviL/EvyL" and the cassette "Made in Österreich" with The Dorf (feat. Caspar Brötzmann & FM Einheit (Ex-Einstürzende Neubauten) or "Thinking Light" by Redshift Orchestra (duo with Mia Zabelka). He performed concerts with Mia Zabelka (Wien), Yoshio Machida (JP), Trap & Zoid (BE), Stian Westerhus or Shahzad Ismaily (with The Dorf) among many others.

"Invisible Cities", the first collaboration between AIDAN BAKER (NADJA, B/B/S) and bass clarinetist GARETH DAVIS (OISEAUX-TEMPÊTE), offers finest ambient / chamber jazz / subtle drones of a highly meditative quality. Available as 180gr LP and download.

Be it solo, as member of the drone duo NADJA or B/B/S (his trio with ANDREA BELFI and ERIK SKODVIN / SVARTE GREINER) or in various collaborations with artists like TIM HECKER or THISQUIETARMY: the Berlin-based Canadian is one of the most productive and versatile artists when it's about postrock, drone or ambient and without doubt a true master on his instrument, the guitar. In recent years BAKER also starting exploring new grounds as a composer of contemporary / ensemble music - e.g. his composition "An Instance Of Rising" was commissioned by SPÓLDZIELNIA MUZYCZNA CONTEMPORARY ENSEMBLE and SACRUM PROFANUM FESTIVAL for their 2017 edition. "Invisible Cities" marks BAKER's first collaboration with GARETH DAVIS whose eclectic oeuvrespans contemporary classical, free improvisation and orchestral music through to rock, noise and electronica. The bass clarinetist is a steady member of the critically acclaimed post-rock formationOISEAUX-TEMPÊTE and A-SUN AMISSA, interpreted compositions by ALVIN LUCIER with MACHINEFABRIEK, worked with BERNHARD LANG and PETER ABLINGER, performed with musicians likeNY Downtown veteran Elliott Sharp, MERZBOW or ROBIN RIMBAUD (aka SCANNER) and realized multimedia work with artists including CHRISTIAN MARCLAY and PETER GREENAWAY.

Recorded in November 2016 at MUZIEKHUIS, Utrecht, the four tracks create a calm, even meditative atmosphere in their reduced manner that gives much room to the individual instruments / sounds, occasionally spiced up by field recordings that intensify the overall chamber jazz / ambient moods.

After 3 EPs on Don Williams a.r.t.less imprint munichs TRAP10 start their own label and the debut is a versatile dancefloor EP through and through. While unmistakably influenced by classic 1990ies era techno, the detroit schooled tunes resemble the duos flexibility - be ready for interesting yet effective dj cuts to add to your record collection. A1 'Flight 781 - straight rhythm action with dark chords and a mesmerising bassy melody. B1 'Shakem' - rumbling electro drums and broken beats complemented by a grimy vocal.

Blumoog music is proud to present its new release of 4 tracks of great musical thickness. This time, Blumoog music has selected quality and passion. We introduce a character like Aubrey Metroplex, Ferox, Outsgun and more...) with a classical song of his repertoire : low crushing bag and psychadelic; you will go to cosmic dimension. It's Gotshell time, colombian artist, who is pointing to into historical labels like Blueprint, Missile. His song is terrifying and powerful, not for the weak of heart. It's time for Frankie Serious(Blumoog music,Switch Off rec.,The Zone rec.), artist from Rome. With his very high production quality, he proposes with a powerful killer song; excellent for dancefloors but at the same time wonderful for a mental journey. Unchained Souls goes to end this ep of a large thickness; a mysterious duo whom we'll sure speak about. They propose a dark psychadelic selection which will take you inside the deep abyss of your mind... Blumoog music is always near you with soul and passion for the electronics music.....good listening

Neue EP des Electronic Duos Emptyset, bestehend aus James Ginzburg und Paul Purgas, auf dem Chicagoer Kultlabel Thrill Jockey. Die Beiden loten mit jedem Release die Grenzen des Machbaren aus und experimentieren mit minimalistischen Ansätzen und kreieren gänzlich ungewöhnliche viszeral-raue wie auch hypnotisch-rhythmische Klangwelten. Emptyset waren bereits Teil diverser Kunstprojekte, zum Beispiel der Architecture Foundation Installation im Ambika P3 Raum, in der Nähe der Londoner Baker Street, oder dem Tate Britain's Performing Architecture Programme, in dessen Rahmen sie gemeinsam mit dem Konzept-Künstler Cevdet Erek die Installation Spike Island realisierten, welche im Londoner Victoria and Albert Museum zu sehen war. Eine überaus ungewöhnliche Performance lieferte die Band auch letztes Jahr in Berlin, als sie live während der Show Signale via Radiowellen einmal 1000km durch due Ionosphäre nach Frankreich und zurück schickten und inklusive der dadurch entstehenden Einflüsse auf den Klang in den Auftritt integrierten.

Nordische Minimal Electronica, gefühlvoll instrumentiert. Inkl. Tale Of Us Remix. Nach ihrer "Looped EP", die zum Record Store Day im April 2015 veröffentlicht wurde, bringen sich Kiasmos kurz vor Jahresende noch einmal mit drei neuen Titeln und einem Remix von Tale Of Us in Erinnerung. Kiasmos besteht aus dem isländischen Komponisten Ólafur Arnalds, der für seine Mischung aus minimalistischen Klavier- und Streicher-Kompositionen und elektronischen Sounds bekannt ist, und dem Färöer Janus Rasmussen, zugleich Kopf des Elektro-Pop-Projekts Bloodgroup. Die EP wird vom vierminütigen Track "Drawn" eröffnet, einem perkussiven Titel mit seichten Klavier-Motiven.

"Gaunt" begeistert mit Ambient-Synthies, einem Drum Loop und langsam sich bewegenden Akkorden. Der Titelsong "Swept", den das Duo bereits bei Konzerten als Überraschungsgeschenk in Form von Download-Karten an Fans verteilte, stellt eine clubtaugliche Beat-Struktur in den Vordergrund - einhergehend mit der von Kiasmos bekannten gefühlvollen Instrumentierung. Abgeschlossen wird die EP durch einen Remix des in Berlin ansässigen Duos Tale Of Us.

Dieses stattet den Downbeat-Charakter des Titelsongs mit einer sehr dunklen Ästhetik aus. Pulsierende Hi-Hats und ein treibender Bass-Loop geben dem Track mehr Tempo, während er sich zu einem epischen Ende auftürmt.

fter the world applauded sascha funke for his latest album 'lotos land', he gave away some tunes to friends for remix duties.
düsseldorf based tolouse low trax formed 'twirl' into a foggy dark mpc-seducer for romantic nighthawks that love dancing.
also australian boy dreems prepared a remix that grooves odd and uncommon. his percussive version of 'im feiern und feuer' is a slow whirlwind, perfect to start and end a great dj night.
with tuff city kids a duo formed a remix that is good for big room love affairs. their version of 'purple hill' is a heartfelt melange between trance and house deepness that works on any dance floor.
the final edit comes from glasgow's junto club, who transformed 'comola', a tune that they already produced originally with sascha funke, into a longing dark melodic synth stepper.
four versions, four hits, four atmospheric dimensions beyond words. tune it loud!

Remixes from Ruede hagelstein & Amin Fallaha, Scuba, Julien Bracht and Tom (Alt-J) Hymn to the Night is the debut album from rising electronic post-punk duo, Lea Porcelain. The album was writt en and recorded over a two year period in Berlin's FUNKHAUS, a broadcasti ng house created under Soviet supervision that now houses the world's biggest recording studio. We are proud of what we have made and we have learned a lot through the process,' recall the band. The spectrum of the album is extremely wide.

Every song works together, playing with very different moods. We would describe it as atmospheric, cinemati c and melancholic'. Including the singles, 'Bones', 'Out Is In', and 'Warsaw Street' The song is rich in vibrant synthesizers and gentle vocals laced with percussion as lively as a marching band, creati ng a track as quixoti c as a lucid dream. - Stereogum

Ominous motorik kraut rumblings and the thudding electronic trickery of prime era Underworld. - Godisinthetvzine

Music-wise, we're thinking of smooshing together Joy Division with Echo & The Bunnymen (sure) coupled with the modern-downbeatness of The XX. So everything dressed in black basically. Brilliant stuff . - Killing Moon

An electronic duo from Frankfurt, Lea Porcelain have a dark, twisted yet oddly enti cing sound. - Clash Magazine

Transversales is a French label based in Paris founded by Sebastien Rosat & Jonathan Fitoussi.
Transversales is specialised in the reissues of long lost tapes, rare original soundtracks and library.
Jonathan Fitoussi is a French composer residing in Paris. He works on minimalist and contemporary musical forms. He's also audio restoration engineer at INA & INA GRM. Sebastien
Rosat is a French Music Supervisor working for Films, TV and Advertising. He's also a member of French electronic duo Sommet.
This first release is the original soundtrack of the film Rock, composed in 1982 by Bernard Parmegiani (1927-2013). A major figure of Electro Acoustic music and member of the historic GRM
(Groupe de Recherches Musicales) where he composed an important work of concert, among which is the masterpiece: De Natura Sonorum.
The work of Parmegiani, a virtuoso of the magnetic tape, is widely known to the public even without their knowledge, through the famous title he composed for the TV program Stade 2', for the French radio France Inter and also through the jingle adopted by Roissy-Charles de Gaulle Airport in Paris (1971 - 2005).
Bernard Parmegiani produced a large number of jingles, soundtracks and indicatives but ROCK stands apart in his repertoire. He recorded it without any outside constraints in his own studio. On listening to ROCK, one is reminded of John Carpenter or François de Roubaix: a work which mixes the sounds of the TR-808 drum-machine, Synthi AKS, Farfisa organ and Clavinet.
Limited Edition Remastered from the Original Master Tapes / Exclusive liner notes

Music for post-apocalyptic deserts. Experimental synth-sounds with hypnotic percussions - imagine Moondog performing with John Carpenter and Cabaret Voltaire.

Relating to their live appearances, Phantom Horse might be named a lazy combo since they are not to be found on stage all too often. Yet their withdrawn approach fits this album very well - Als Ob' is once more a journey through inwardness, a contemplative excursion to the electronic outback, still friendly asking for your attention. There's plenty of things to discover if you listen mindfully, the Phantom Horse rides out where you as a listener like to be lonely. Those ancient synths are still around, playing their melodies as if* there were no time thieves waiting around the corner (*That is what Als ob' means).

Altogether, the sound has become more electric yet not eclectic, the duo has dekrauted, describing their sound as more ritual but of course avoiding any kind of mysticism and fairy-tale dullness.

Since 2015's Different Forces' (also on Umor Rex), Phantom Horse have fleshed out their friendly stoicism that hauls their experimental synth sounds into the area of songs - maybe even pop songs that aren't tangible at least. Welcome to the insular state of Phantom Horse.

After more than 5 years releasing exclusively their own material on their own label and with 12 EP released since nowadays there, NX1 use now the cultivated experience through this years to launch Nexe Records, a new platform with which they open to release other related artists and collaborations that will rule the label.

To get started, Nexe Records opens with a 3 EP vinyl pack which contains 12 artists remixing released tracks from NX1. The first three records are involving names such as AnD, Orphx, Blush Response, Ontal, Samot, P.E.A.R.L., Scalameriya, Go Hiyama, Surit, Lucindo, RE_P and The Exaltics, a wide sort list that define the borders and possibilities of the sound that the duo purposes for this new label.

The third EP opens with a classy electro remix from one of the most reputed names from the genre, The Exaltics. Following on the A side we also find Samot, half of the NX1 duo and who delivers a broken hard twisted remix that works perfectly for any serious techno set. The B side starts with an overwhelming raw acid version from the modular industrial artist Blush Response showing his unmistakable convoluted style. Last track of the record is done by the spanish P.E.A.R.L, serving a serious driving techno track that keeps you mesmerized with deep pads and a strong punching kick.

The historical Power Electronic founders duo remixed by two of the infamous artists of this new industrial/noise scene. Parrish Smith, also know as Sige Bythos and Volition Immanent, already appeared on labels as Nation, Contort Yourself and Knekelhuis, made a smashing track, slow and heavy, distorted and electrically powered.Black Seed, already appeared on DTLS SND and Sign Bit Zero signed a syncopated track, with tribal influences and bouncing sounds that will turn your brain into a whirpool.
Procreation and Religion... let's think about that.

Acid Test continues their journey with the return of Achterbahn D'Amour. On their first proper release in three years, Jool & Iron Curtis patiently craft an intricate sound world - with the opening track, major-key pads hearken towards a bright future, hi-hats rustle like leaves and on "Dehaveland," percussive elements fall into beautiful, random unison like factory machines staging an after hours dance. Samuel Van Dijk's vaunted VC-118A project steps up for a remix, turning in a taut techno version that unfurls smoke pillars of ghostly ambience. The duo wraps up the four-tracker with an unexpected dreamy electro turn, "Don't Talk To Me." Throughout Acid Test 13, they remain in lockstep with the label's ethos - to bend, hammer and flatten acid lines into new, imaginative shapes.

Music From Memory's final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones'.
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Pioneers in the Post Punk Industrial and New Wave scene in 1980's San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco's notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.

With it's influences seemingly as much rooted in the past and the present as it was focused on the future, Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio's in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it's time.

Bewitching Avant-Pop album from impromptu supergroup built around acclaimed Japanese duo, Tenniscoats. Featuring members of Notwist, Jam Money and Joasihno.

In these dark and uncertain times, there's an ever-growing collective of peaceful, loving types, bound together by an understanding of one peculiar word: Tenniscoats. Aside from being the name of an influential Tokyo-based duo, it represents fun, artistic freedom, experimentation and - perhaps most important of all - inclusivity.

A Tenniscoats gig is rarely the audience watching the performers. Instead, Saya and Takashi regularly shun the stage in favour of any particular spot that takes their fancy, whether it's an empty seat in the auditorium or the roof of a neighbouring cafe. In the world of Tenniscoats, music can happen anywhere, and everyone is invited to join in.

During the winter of 2016, the music happened in Munich. As a long-time fan, Markus Acher (Notwist) jumped at the chance not only to put Tenniscoats on the bill at the Alien Disko festival he was organising, but also to invite Saya & Takashi to a small apartment studio, together with Mat Fowler (Jam Money) and Cico Beck (Aloa Input, Notwist). This is where Spirit Fest was recorded over the following 14 days.

Tenniscoats are known for their collaborations - some of their finest work was done in conjunction with Tape, The Pastels, Jad Fair and many others - so making good use of the time and friends available was natural to them. For me, timing is important,' Saya said. We met in season, and the song flowers are now blooming!' Mat Fowler recalls the Spirit Fest sessions taking place in an idyllic, festive atmosphere. Every morning we'd all share breakfast, chat and learn about German Christmas customs. We'd catch the bus in the morning and walk home in the evening. The journey ran parallel to the beautiful flowing Isar River that bubbles, ebbs and flows right through the middle of Munich.'

While Tenniscoats sit at the heart of proceedings, it isn't their album alone. Markus, Mat and Cico also brought songs, providing a solid base on top of which the artistry could evolve. Mat explains that, a melody would begin, and slowly, each of us - in our own time - would find our way into the music.

Producer Tadklimp would sensitively set-up around us in this narrow window of time, so as to document that first and intuitive moment of collective discovery.' Nearly everything was recorded live,' agrees Markus, playing and singing together in one room with piano, guitars, percussion and some keyboards.' The collaborators came from Germany, Japan, the UK, Greece and beyond. That sense of inclusivity is palpable.

From the tender beauty of Markus's River River' and Saya's Mikan' to the electro-Merseybeat of Tenniscoat's Nambei' and the half-crazed pianica-reggae of Shuti Man', the resulting album is a testament to the manner of which these musicians are able to channel their songwriting through their spontaneity. It's also a snapshot of a gentle and intuitive moment in time - a beautiful meetup that expands this community, happily, even further.

Jon Willks (Grizzly Folk)

Rotterdam based duo ARKVS release ''Oppression EP'' through the PRRUK black series. The result is an exciting package of futuristic techno sounds and searing drums. The duo has managed to find a perfectly executed trip throughout the different sides of ARKVS. While the general tone is darkish throughout, there are some uplifting atmospheres and hints of hope to be found in this package. While the title track is a thumping piece of dancefloor techno, the cinematic voyage ''Our Deepest Fear'' is a stand-out production of adventurous electronics. On the B-side we find ''Chose To Defy'', which is a tough work of dark techno and the somewhat more mellow ''Nonviolence'' on which an intrusive bassline is combined with some beautiful synth sounds.

2022 Repress

HQ Gatefold, 3x12 140g Vinyl, black innersleeve, download code
EXTRAWELT are back! Although in fairness, they were never gone. On the contrary, since their first release on James Holden's Border Community Label dropped in 2005, Arne Schaffhausen and Wayan Raabe have been responsible for a plethora of classics including "Schöne Neue Extrawelt" and "In Aufruhr", their two seminal albums on Cocoon Recordings. The duo are one of the most booked live acts worldwide, commanding a huge fan base. Their performances are the stuff of legend, making them the absolute highlight at every club and festival they play. So it's with great pride and respect, that we can announce the release of Extrawelt's third album for Cocoon Recordings. "Fear Of An Extra Planet" completes the Cocoon trilogy and the excitement growing among their fans represents a new high in the history of EXTRAWELT!
Musically, of course, there's enormous pressure on EXTRAWELT to deliver, but this is dismissed with a playful disregard and they are clearly focused on the job in hand. The album title "Fear Of An Extra Planet" sounds cinematic, like some art-house science fiction film, without giving too much away.
However, from the first seconds of the opening track "Superposition", the album title makes 100% sense and sets the scene for the rest of the trip. We are immersed in wide open spaces and invited to explore dark and dusky worlds that transport us back to their Border Community years. Timeless and elegant, "Superposition" perfectly captures the epic, dream like quality that made James Holden's label so influential.
New Release Information Second up, "Gott ist Schrott" takes a much more minimalist approach with its retro 80s drum programming, monster bass lurking in the breaks and playful Rhodes/synth riffs that span the divide between early German techno and deep Detroit electro with a distinctive film soundtrack aesthetic. "Oddification" continues this theme, adding extra spice reminiscent of the techno-synth vibe of Detroit with a punchy, almost Prodigy-style breakbeat complete with shredded vocal samples that gives us a taste of what's in store. "Gentle Venom" then takes the breakbeat motif to the next stage. The main focus here is the classy sprinter of a bassline, peppered with a flurry of intricate and subtle effects and modulations, that immediately trigger an intense, movie-like 'in pursuit' feeling.
With - Das Grosse Flimmern" we cautiously approach the album's high point. It's still in keeping with the soundtrack aesthetics, but faster and with more urgency. Almost hypnotically, Extrawelt invade us with an energy and impetus that always radiates from their music. Next in line is "Silly Idol" and here Arne Schaffhausen and Wayan Raabe opt again for a more minimal tack, focusing even more intensely on the dance floor to reveal a pulsing, twisted heart to the album.
"Punch The Dragon" is the hidden gem of the collection, utilising and melting together the most bombastic and playful elements. This one is totally off the hook, a sensory overload in an acoustic widescreen format! Then we have the title track "Fear Of An Extra Planet" which perfectly sums up the album concept. It opens up like a film score, with minimal passages following dark sequences that morph into dreamy melodies, all grounded by cool, constantly alternating analogue drum patterns. If you're not listening closely, you might get the impression that three or four different titles are mixed together; such is the effortless flow of the album.
As we near our destination, "The Friendly Coroner" really does honour its name. The morbid charm of the title is captured by a fluid bassline and melodic arrangements that border on the absurd, until the funky drum beat finally drops. In our mind's eye we see a cheerful medical doctor removing his bloody gloves, hanging his smock in the closet and vibing out in his neon drenched workspace. And there we sit, glued to our cinema seat, submerged in the different textures EXTRAWELT have conjured up on "Fear Of An Extra Planet". Over the course of the last title, the strings usher in the final acknowledgments as the credits roll. The dramatic end of "2084" leaves us transfixed in front of a black screen in a large, dark room safe in the knowledge that we've just witnessed a science fiction epic.

Mamie's Records is the new project of troublemakers La Mamie's. The crew of Djs, well known for throwing wild parties in Paris and its suburbs, top-quality sets, and their dedication to the Macki Music Festival, have decided to launch their own record label. Kodäma is a music duo formed in 2014 by Kiala Ogawa (singer and composer originally from Japan and Congo) and by T-time (bassist and composer). The word «kodama», meaning «echo» in Japanese, also refers to spirits conveyed by trees and forests. According to the legends, these spirits are responsible for the the phenomenon in which the mountains echo. Kodäma's universe is very linked to Kiala's cultural sphere with, as a major source of inspiration, her childhood's memories from the Japanese countryside. Kodäma is a subtle combination of electronic and acoustic sounds with Kiala's captivating voice, blending English and Japanese. From this mixture of sounds emerges a spiritual, experimental music marked by their own neo soul groove or future jazz

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records softer, more melodical and experimental side.

Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time! We warmly welcome the Dutch duo Dennis Pors & Stephan de Bruijn to OrbisX. New fresh talent, ready to conquer the world. We feel obliged to support these
fine gentlemen to get their music spread across the globe. Dennis & Stephan know each other through their musical perspectives.
They share a similar taste for music, Detroit techno. Before they worked together, Dennis experimented with deep house through digital synths and learned the ins and outs of programming music in Logic.
Stephan was well known with the detroit techno scene. His passion goes out to well balanced electronic music with hypnotizing emotional feeling to it. Add a layer of atmospheric grooves on top of that and you have the perfect blend to potential timeless music.
Soon enough they made the switch to analog gear to be able to create a cleaner and better sound. After three years of hard work, they have reached the sound they were looking for. And this is it!
Their debut on vinyl. D&S servers a full EP called Thoughts EP. A great cocktail of dreamy and diverse electronic tunes. This EP fits well in the back of any DJ bag to warm up the place or fix the atmosphere on roof-top bar in NYC. Smooth cruising, roof down car music or background music on a spring night with a summery breeze This EP is amazing and works best on a big sounds systems and major festivals! Childs play , what s in a name. Nothing like that melody. Creating a generously opening atmosphere, but actually brilliantly mixed creating the perception of simplicity. Groovy, acid touches and funky. Can t keep still when being played. A-track for sure! Thoughts might have a dark feel to it but evolves in a very uplifting track in just a few moments, making
it very bright and fun to play. Shed light to the place, should have been a great title as well, but thoughts is the best name for this track. The story in this track is definitely there to be told and listened to. Edge Of Insanity kicks of the B-side. Goosebumps, as from the start. Building up slowly to a very melodic and yet simply track, it s the perfect translation for a sunrise at the beach. Potential
Ibiza hit if you ask us. Submission is a track straight out of a movie. Clever, nice build up, dreamy, spacey and above all so amazingly subtle. This is what falling in love should sound like. We re humble. We re amazed. We re honoured to host D&S. We hope this duo gets the attention

Serotonin Records, the little neuron that could, returns with a compilation of futuristic electronic funk.

'It's What We Live For: Volume 1' is the first in a series of compilations sharing our vision of tomorrow and/or the sound of the day after yesterday... Serotonin has always been what we've lived for, now we'll try and make sure it's what you live for too.

John Selway takes us 'Solar Sailing' on a tour of classic Serotonin themes set in the deep space between our ears. Of course it sounds like Selway, but it's the unique sound of Selway on Serotonin.

Alex Cortex has been making electro for years and Serotonin is excited to finally catch up with him. His contribution 'Proxy' is a deep, fat and brain chemistry-altering groove.

Synapse, the duo consisting of label heads John Selway and Jason 'bpmf' Szostek, reach into their archives to deliver 'Payback'. What was the debt Well, that was already paid back with another track so we can share this golden slice of the electro dream with you.

TCMF with isti.f can transform your body with laser beams and bass. 'We Are The Almost People' is just weird enough to rock you out of your seat so you can get up and jam.

Pointsman and bpmf each deliver a loop so that the Serotonin never runs out.

Watch out for more releases soon, including a full Synapse EP and some old friends doing new tricks.

Serotonin, It's what you we live for...

Following a superb remix of Hakimonu's 'Insular Realms' in 2015, Ed Davenport's Inland alias returns to Deep'a & Biri's Black Crow Recordings with a brand new EP for the label's tenth release. Having played a key role in the relaunch of Function's Infrastructure New York imprint, in addition to operating his own widley admired Counterchange label, Davenport's techno project has brought the Englishman to wider recognition as one of the genre's most talented producers. The new EP's three original tracks finds Inland exploring all facets of his diverse sound: A1, 'Metatlantic' is driving, acid-laced techno, 'Cosinaxis', employs electro beat patterns and IDM aesthetics, B-side opener, 'Lagoon9', is a melodic Detroit-indebted big room weapon. Closing out the EP is a remix of from 3KZ aka Italian duo Z.I.P.P.O & Kaelan, the latter of whom provided one of Black Crow's standout releases so far under his 2030 alias with last year's Timeworm EP. Their remix of 'Cosinaxis' follows hot on the heels of their debut album 'Parallel Reflections', released earlier this year on Z.I.P.P.O.'s Fides imprint.

the italian duo boot & tax got already one lp and four eps under their wings who all deliver house and techno that stands out.
so far their records been published by glasgow's finest optimo music and meant records from paris.
now the two give their debut for endless flight and release three tunes that listen to the name 'dimension'.
they all got funk, they all love mesmerising melodies. you can feel the power of disco coming in with heavy seducing strings.
you can get lost in echoed drums, trippy sounds and some oriental tones. and you also can march to cosmic techno that loves krautrock without embracing it.
a multi-coloured ep that spreads deepness in an uncommon sense. if moves the heart and soul profound, while staying edgy and catchy.

Figure Jams is back with a another fresh and exciting pairing of artists. This time the record is a collection of pure analogue goodness, sparkling ripe with synthesizer magic. The A-side comes courtesy of duo-of-the-moment TWR72, who happen to distill perfection through simplicity in their stripped-back productions. While ‚Polished' is a pulsating bit of beatless yet captivating clean-cut loops, their other contribution shows their talent at crafting something lean, dry and punchy, which is still undeniably driving and hypnotic. Picking up on the synth-heavy theme of this release is St. Petersburg's finest Aleksey Niktin aka Nocow. Inspired by the endless baltic winters, the producer packs his tracks with emtions that feel cold but not icy, engulfing the listener in winching waves of melancholic Electronica.

We are very excited to welcome ROCCO & ESQUIVEL to COSMICA's roster this year.The duo formed by Rodrigo Desentis (México) and Eduardo Esquivel (Uruguay) provide an uptempo gem strictly designed for the dance floor. Esquivel is a well know name in the Latin American electronic music scene, since he started his residency at the mythical club EXTASIS in Montevideo. After 25 years of career and extensively touring through Uruguay, Brasil and Argentina, Eduardo has settled in México city with residencies in the acclaimed BLANCO COLIMA and CASA DISCO.DUBMASTERS was our first choice for a Remix candidate, and we could not be more stoked with the outcome. The spacey pads and reverberating drums of the intro, already announce the departure to a cosmic destination well know by all familiar with their previous releases on our label. The tight bassline provides the classic 'Electro' background for the wanky guitar chops to flourish into a flock of migrating melodies that fly in all directions in the sky above.EDDIE C, the Canadian / Berlin resident 'SLO-MO DISCO MAESTRO', closes the EP and puts the cherry on top, adding a latin feel good climate to the package. The summer vibes can be felt all over this track, with a driving percussive beat and a climaxing vocal breakdown that will have you begging for more PALTA CON CREMA!COSMICA MUSIC is a vinyl only record label from Patagonia, Argentina, and our releases are being supported by seasoned selectors such as DJ Rocca, Daniele Baldelli, LTJ Experience, Ali OOFT!, Salvatore Stallone, John Paynter, DJ Garth, Jeno, Hugh Herrera, Mark E Quark, Eddie C, Tim Sweeney, and Prins Thomas to name a few.

REPRESSED !
Bristol based producers Behling & Simpson take on remixing some Kerri Chandler classics this August with the 'Heaven' EP, set to drop via Kerri's very own Madhouse Records
imprint.

Madhouse Records boss Kerri Chandler needs no introduction having been one of the most prominent names in underground house music for over two decades now. While rising talents Behling & Simpson's collective output has been championed by the likes of Claude von Stroke, Derrick Carter, Ralph Lawson, Modeselektor and many more over the pairs 100+ previous releases between them (under various guises), this stands as testament to their undeniable ability to craft forward-thinking electronic music.

First up on the release we have 'Heaven' featuring Christopher McCray on vocal duties, Behling & Simpson's prevalent low-slung, dropped tempo rhythms take the lead, alongside hypnotic lowend tones, while the duo capture Chandler's warm musicality with style utilizing the original's bright chord progressions and smooth vocal licks, creating an intricate, intelligent slice of house. 'Peace Of My Mind' follows on the flip side, a track originally released on Madhouse in 2011, though returning to the label in 2014 with an intriguing reshape courtesy of the Behling & Simpson, again taking on the pair's niche slo-mo feel, setting the tone and radiantly showcasing why their sound stands tall above many of their
contemporaries in such an effortlessly cool way.

2024 Repress

Hotel Record is the second release from the duo/couple of crys cole and Oren Ambarchi, following on from Sonja Henies Vei 31 (Planam, 2014). Where their debut recording presented a disquieting portrait of the erotic dimension of romantic intimacy, the follow-up continues to explore the pair's simultaneously musical and romantic relationship in a more subtle fashion, presenting four long-form pieces that touch on the variety of forms the life of this couple takes: as a musical duo, as a pair of travelers to exotic locations, as opponents in a game of cards...
Each of the double LP's four sides presents a distinct sound-world, yet each manages to attain the same suspended, half-sleeping feeling, outlining a space where improbable combinations of the electronic and the acoustic, of extreme closeness and amorphous distance, occur with the gentle insistence of a dream.
The opening Call Myself calmly unfolds a fabric of long tones from electronic organ and guitar, combining the sliding, aleatoric effects of classic David Behrman with a more hands-on feel. Over the top of this slowly shifting tonal bed, cole's voice mutters unintelligibly into a Buchla synth, teasing the listener by suggesting a meaning that remains always out of the ear's reach. Francis Debacle (Uno) builds on the foundations of a heavily amplified session of the titular card game, overlaying vocal murmurs and exhalations and mysterious room-sounds to create an impossible aural environment. On Burrata, a palette of vintage 1980s digital synthesizer sounds combined with guitars create an irregular texture of lush chords and bubbling melodic details, into which cole's voice processed by a vocoder, is interwoven, reading fragments of romantic correspondence. Finally, on Pad Phet Gob, field recordings made in Thailand become an ambiguously acoustic/electronic rainforest, eventually giving way to a mysterious, wavering electronic tone-field punctuated by sibilant, popping mouth-sounds.
Carving out an intimate and human sonic space across a diverse array of compositional approaches, sound sources, fidelities and textures, Hotel Record is the latest dispatch from the continuing explorations of a unique duo. Ambarchi and cole reimagine electro-acoustic music, not simply as 'abstract' sound, but as a diary, a love poem, a dream.
Deluxe gatefold sleeve with photography by crys cole and LP design via Stephen O'Malley
Mastered and cut by Rashad Becker at D&M, Berlin February 2017

On EP5, legendary German musician Burnt Friedman makes his Dekmantel Records debut with 'Monsun'. The Berlin based artist, who built a reputation for himself through his explorations into obscure, finely-tuned, experimental dub through his label Nonplace, alongside his collaborative relationship with the late Can drummer Jaki Liebezeit, is one of the crucial, sonic manipulators of our time. 'Monsun' finds Friedman crafting flowing, percussive, dub techno that is both esoteric, and progressive. Befitting of a Dekmantel release. Alongside Friedman sits legendary Detroit act Ectomorph, aka. BMG & Erika, also making their Dekmantel inauguration, with a record that surmises' the group's anologue, style of Motor City beats.
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There would be no Dekmantel celebration without longtime family members, JuJu & Jordash. With three LPs and countless EPs released on the imprint to date, alongside a sleuth of festival, and party appearances, the improvisational duo have become masters of off-kilter, and poly-rhytmic electronic funk, of which 'Neon Swing' -a fast-paced and extremely invigorative cut- is of prime example. And then there's Dekmantel favourite Fatima Yamaha - an artist who has a keen ear for gentle, analogue hooks that have gone to become ample festival fodder. The Dutchman maintains an ear for the serene with the track 'Platforms', a sullen, yet beautiful ambient track, the drives deep into the emotive world of soft, tender, heartfelt music.

As BPMF started making techno again, he surveyed his techno friends asking them what it was about his music they found the most annoying. The answers TR-606 hi-hats and portamento.
He proceeded to focus on these aspects of his music and today the results are here: "Abide the Glide Volume 4" wherein BPMF is pushing all the right buttons to get the DJ thinking about the sounds their pumpin. Jamie Morris provides an excellent DJ freindly remix of "Even Straighter", taking BPMF's idea and going even straighter.Old Man Raver Pants" proves that a 50 year old man can still party, so long as he's wearing his raver pants and while there's been alot of talk about alternative facts, "Alt-Slacks" is a dub inspired jam that seems like it's narrative might fall apart at anytime.Schmer label head BPMF has been making electronic music since 1984. As Free World released cassettes, was entered by WFCS into CMJ's Best Unsigned Bands competition and in 1985 earned the duo a spot on an Epic Records compilation. In 1986 they released "Amagi", an eclectic collection of experimental electronica inspired by underground new wave and industrial music of the 80s.BPMF and Taylor Deupree formed Decameron and released two cassettes on Havoc Music. Some tracks would appear on early techno CD compilations under pseudonyms. Havoc Music's own compilation "Techno Criminal Sub Cultures" is where BPMF first appeared in 1991.
With Dietrich Schoenemann and Taylor Deupree, BPMF assembled classic early 80s analog gear and as Prototype 909 they released "Acid Technology" on Instinct records; performed their first live show, met Abe Duque who invited all of his techno friends to the legendary Limelight Club in NYC. BPMF brought records and gear jammed live with them. The Rancho Relaxo All-Stars would release three albums and tour Europe together even destroying the original Ultraschall in Munich, quite literally tearing the place down. With John Selway, BPMF channeled early electro and new wave sounds forming Synapse and creating Serotonin Records to bring the funk back and help give birth to the electro revival scene.Prototype 909 recorded four albums and played 70+ shows. Synapse was the first American electro group to play live in Moscow. BPMF released tracks on Serotonin, Schmer, Instinct, Analog/EMF, Tension/Rancho Relaxo Records. His approach to electronic music is hands on and experimental, so more than having a "sound" his music reflects his values: spontaneity and a sense of urgency.

KLYNE first caught everyone's attention with their critically-acclaimed debut EP 'Paralyzed' on Aesop, as well as their debut remix - a rework of Disclosure's 'Omen' feat. Sam Smith - before signing to Because Music and going on to release their first two singles, 'Don't Stop' & 'Water Flow'. Both tracks hit the #1 spot on Hype Machine whilst garnering support from i-D, PIGEONS & PLANES, THE FADER and NOISEY as well as receiving airplay support from BBC R1, 1Xtra, 6 Music and Beats1 with 'Water Flow' racing to over 6M streams and counting on Spotify. 'mellow electronic pop that's like a long-lost cousin of Jai Paul' - The FADER 'infectious and effortless... groove-laden soulful masterstrokes' - VICE / Noisey 'minimalist vibes, captivating vocals... impeccable melodies' - Pigeons & Planes 'more fire from the young Dutch duo... the boys are off to a strong start' - i-D

The debut EP from Seltron 400, AKA, Polish dance favourites Eltron John (Uncanny Valley / Transatlantyk) and SLG (Studio Barnhus / Step), arriving on MOST, following a recent appearance on Catz and Dogz' PETS Recordings.

Stemming from a run of well-received back-to-back sets, these close friends emerge from the studio with two imaginative slices of house and contemporary electro, alongside a jackin' bonus beats accompaniment.

After a well-received Boiler Room set, the duo will promote their officialdebutin summer 2017with aproper live act.

(en) While the last Kompakt offering from legendary Russian synthesists SCSI-9 dates back to 2008, when the duo released their album Easy As Down' (KOMPAKT CD 068), co-founder and techno/house virtuoso ANTON KUBIKOV kept himself busy cultivating his own label Pro-Tez Records - and establishing a career as solo artist with a clear penchant for dub-infused soundscapes and ambient music. WHATNESS is Kubikov's first solo full-length under his proper name, weaving airy and iridescent sonic tapestry that takes up where his excellent contributions to our Pop Ambient compilations left off.
ANTON KUBIKOV's special ear for ambience and tonal spaces was always an integral part of SCSI-9's musical DNA that would alternate between tight dance workouts and vast melodic range - but it's as a solo artist that he truly started to explore these spaces, following mysterious sonic trails into foggy, reverb-heavy territory. Kubikov's contributions to the several instalments of our Pop Ambient compilation series announced the arrival of a promising new project in our talent pool - a promise more than satisfied with the immersive sound bath of first solo outing WHATNESS.
Going from the richly layered electronic drones of LIQUID MIRROR or ENTRANCE to the lush ambient dub of OTHER THE SEA and KURT'S FOREST, or the minimalist, evocative piano of OKTOBER and PIA, the album covers lots of stylistic ground, but remains committed to its overall aesthetic of misty mountains and serene valleys. With the endearing APRIL, a true Pop Ambient classic from the 2016 compilation (KOMPAKT 345 CD 128) makes a welcome return, priming the canvas for the subtle bass throb of NORTH and its charming synth bell orchestra. Masterfully refining and extending his sonic pallet on WHATNESS, ANTON KUBIKOV can claim his spot among the very best of today's ambient composers.
(de) Obwohl die letzte Kompakt-Offerte aus dem Studio der legendären russichen Synthesizeristen SCSI-9 schon eine Weile zurückliegt - 2008, um genau zu sein, mit dem Album Easy As Down' (KOMPAKT CD 068) -, hat Co-Gründer und Techno/House-Virtuose ANTON KUBIKOV nicht auf der faulen Haut geaalt, sondern sein eigenes Label Pro-Tez Records gepflegt - und eine Karriere als Solo-Künstler mit klarem Drang zur verdubbten Tonlandschaft und Ambient-Musik in die Wege geleitet. WHATNESS ist seine erste Solo-Album-Veröffentlichung unter eigenem Namen und webt einen luftigen wie schillernden Klangteppich, der genau da weitermacht, wo Kubikovs exzellente Beiträge zu unserer Pop Ambient Compilation-Reihe aufgehört haben.
ANTON KUBIKOVs besonderes Ohr für Ambientes und tonale Räume war schon immer integraler Bestandteil von SCSI-9s musikalischer DNA, die gerne zwischen fokussierter Tanzathletik und ausufernden Melodieräumen changiert - doch erst als Solo-Künstler macht er sich daran, diese Räume wirklich auszuloten und geheimnisvollen Klangspuren in neblige, hallende Gegenden zu folgen. Kubikovs Gastspiele auf mehreren Ausgaben unserer Pop Ambient-Serie deuteten auf ein vielverprechendes neues Projekt im Talentpool hin - ein Versprechen, das mit dem mitreissenden Klangbad von WHATNESS mehr als erfüllt wird.
Von den reichhaltig verschichteten elektronischen Drones von LIQUID MIRROR oder ENTRANCE zum üppigen Ambient-Dub von OTHER THE SEA und KURT'S FOREST, oder dem minimalistischen, andeutungsreichen Klavierspiel auf OKTOBER und PIA erstreckt sich das Album über viel Stilgebiet, bleibt aber der eigenen Ästhetik dunstiger Gebirgszüge und einsamer Täler true. Mit dem überaus reizenden APRIL macht ausserdem ein echter Pop Ambient-Klassiker von der 2016er Ausgabe (KOMPAKT 345 CD 128) seine Aufwartung und bereitet den Boden für den subtil pochenden Bass von NORTH nebst charmantem Synthieglockenorchester. Meisterhaft veredelt und aufgebohrt, ist ANTON KUBIKOVs Klangpalette auf WHATNESS Grund genug ihm einen Platz zwischen den besten Ambientkomponisten unserer Tage zu sichern.

The historical Power Electronic founders duo remixed by two of the infamous artists of this new industrial/noise scene. Parrish Smith, also know as Sige Bythos and Volition Immanent, already appeared on labels as Nation, Contort Yourself and Knekelhuis, made a smashing track, slow and heavy, distorted and electrically powered.Black Seed, already appeared on DTLS SND and Sign Bit Zero signed a syncopated track, with tribal influences and bouncing sounds that will turn your brain into a whirpool.
Procreation and Religion... let's think about that.

Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as Sfire on CockTail d'Amore Music and Ultramajic.
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The duo released their 8-track debut album 'Part Flamingo' in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP's: 'Part Flamingo' and 'Nurse Coven'. They're loose, fun pastiches of 80's movie soundtracks with accompanying imagery. For the 'Flamingo Boots' EP we chose 4 songs from the album which the pair extended for maxi 12' throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright '80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.

'Great Many Arrows' is the 6th studio album from Damien Dubrovnik, the Danish duo of Loke Rahbek and Christian Stadsgaard. It is also the 200th release on their Posh Isolation label, marking 8 years for both the label and project. The label's inception came with Damien Dubrovnik's debut album, and since then the two have been inseparable. Without Damien Dubrovnik there would most likely have been no Posh Isolation, and vice versa.

'Great Many Arrows' is undoubtedly a high point in the varied discographies of both Rahbek and Stadsgaard. It is the most realized Damien Dubrovnik recording to date, and a standout in Posh Isolation's troves.

As a record, 'Great Many Arrows' manages to translate the intensity of the duo's often unrestrained live shows in to carefully crafted studio productions. Unlike the pair's earlier and largely electronic recordings, the compositions on 'Great Many Arrows' set organs, cellos, violas, wind and other acoustic instruments against the backdrop of an electronic landscape.

The new toolset is as apparent on the surface as it is in the enclosed detail, taking the project further from its noise roots than it has ever been. This is not to say that Rahbek and Stadsgaard have traded ferocity for formal constraint. It is rather the opposite. While 'Great Many Arrows' is certainly the pair's most 'musical' work to date, its veneer of accessibility might also make it their most terrifying.

The strength of the recording lies here in the interaction between the melodic, acoustic instrumentation and the bulldozing electronics. Moments of beauty and light are transfigured into utter chaos and rage, the mesmerising change an expression of the equal and opposite form's natural sway as it beckons and slips between its own passing.

'Great Many Arrows' takes its name from a historic archery competition in Kyoto, Japan, in which archers would shoot as many arrows as possible for a 24 hour period. On April 26, 1686, Wasa Daihachiro from Kishu successfully shot 8,133 out of 13,053 arrows, averaging 544 arrows an hour, or 9 arrows a minute, becoming the record holder.

Inner8 is Daniele Antezza, a multi-faceted thinker and electronic music producer, member of Dadub duo, co-founder of Artefacts Mastering Studio, Dadub Studio owner and Holotone label manager, whose regular invocation of the term praxis begins to hint at his creative aims: a primary synthesis of contemplation and action that, in turn, encourages a secondary and entirely unpredictable set of syntheses dependent upon the listener's unique interpretation. Though the Inner8 moniker has been in existence for several years as a private nickname for, as Antezza puts it, his 'experimental anarchist sounds,' his recent releases are just now surfacing which will reveal just how much this project has to communicate.

Like many transplants to Berlin's pulsating sonic underground (Antezza moved there from Italy in 2009), his past work seems to communicate traces of the ecstatic with the argot of technical precision and / or scientific rigour. However, Antezza is not what one would call a 'Berlin artist' despite sharing these traits in common with the city's most visionary producers: his work gives off an impression of restless nomadism that has little to do with representing a localized scene. Rather than carrying on the territorial / parochial projects of reinforcing an arts scene's geographic boundaries (or even redefining the boundaries of a musical genre), Inner8 is more concerned with a holistic 'deconstructive approach' through which 'it's possible to reveal the paradoxes of the dominant thought, the paradoxes behind the status quo.' His fascination with concepts as diverse as asymptotes and particle physics, though often trendy among those looking for a seat at the table of the avant-garde, is a heartfelt fascination - moreover, these interests merge perfectly with his relentless theoretical questing.

Antezza's relationship with that city's Stroboscopic Artefacts techno label has been a particularly fruitful one, to the point where his sound work prior to Inner8 is almost synonymous with SA's own development. As one half of the psychonaut duo Dadub along with Marco Donnarumma, Antezza has sculpted deep and immense tracks that mesmerize with their harmonious interplay of force and ambiguity. After having co-founded and managed for years Artefacts Mastering Studio, he recently launched his brand new audio postproduction Studio (Dadub Studio), where Antezza lends his sonic signature to an eclectic variety of electronic recordings. That signature can be identified by its hyperreal sense of presence and immediacy, qualities that have become crucial to the presentation of a music that generally relies on only a few sonic elements per track to communicate its message.

Antezza also takes pride in the ritualistic quality of Inner8's live sets; a mobile laboratory of dynamic tension in which his theories manifest as massive physical vibrations (here we can also see / hear / feel just how well Daniele has absorbed the lessons of the dub 'sound system' aesthetic).

Optimo Music präsentiert eine neues Sublabel, das auf den Namen So Low hört. Das erste Release kommt vom Glasgow's Happy Meal, ein Duo bestehend aus Suzanne Rodden und Lewis Cook, die auf So Low ihr zweites Album vorlegen. Full Ashram Devotional Ceremony Volumes IV - VI ist mit seinen Kraut-Electronic-Noise-Ambient-Wave Einflüßen gleichermaßen verstörend und einnehmend und garantiert ein spannendes Hörerlebnis.

4x12 LP, Limited to 150. Deluxe Outersleeve with Punched Out Centerpiece 'Window' and 4 Printed Innersleeves. Deltawerk is the newly Amsterdam based project of Pascal Terstappen aka Applescal and Polynation member Hessel Stuut. Together they are releasing their debut full length LP, entitled 'Passages",
Applescal has to date released on labels including Ghostly International and Traum Schallplatten, while the efforts for his own label Atomnation have seen him welcome music from the likes of Gidge, Weval, David Douglas and Sau Poler, amongst others. Voted at a very respectable #03 for XLR8R's coveted 'Best New Act' in 2015, Hessel Stuut is a member of Polynation and has significant experience not only playing live music, but as a producer, visual artist and designer too. Together, they form Deltawerk, a dynamically electronic duo whom when united create human and lucid music, which feels as much at home in an underground rave as it does in an open-air live performance. While there is a faint echo of artistic collision, the album undoubtedly provides an eerie sense of unity for both Pascal and Hessel's own discography, conserving the warm subculture of
analog and modular instrumentation.

Since the millennium 2raumwohnung unites electronic sounds and pop melodies in a variety of ways. The early singles 'Wir trafen uns in einem Garten' (2000) or '2 von Millionen Sternen' (2001) playfully communicated the life-style of a new Berlin. The duo, consisting of Inga Humpe and Tommi Eckart, started as a studio project and continued to develop via eight album productions. At the same time, an important impulse included developments in techno or house music. Their most successful album '36 Grad' stayed in the German album-charts for 33 weeks; 2raumwohnung continued to expand their stage range as well.

After a first release by Dub-Techno father Brendon Moeller, Submersive Records is back with a various artists ep. The Paris based label, launched in 2016 by Process B, is now introducing 3 artists who were invited to present 3 different visions of the label's musical identity, completed by a Albert van Abbe remix. The ep starts with the first appearance of french duo Bevel (Positive Clearance & Process B). Slow yet electric saga, 'Hob' swings between atmospheric, industrial and deep techno sounds. A perfect introduction to the label's roots. Elements come one after the other while holding a certain incisive vibe and giving birth to a track that can fit in both warmup or peak time sets. 9beats, young producer from Lyon, explores a more melodic side with 'Through An Interstellar Cloud'. Used to dive people into his spatial universe through his tracks or analog live sets, 9beats's travel is a good transition from ambient to techno.We said Techno Isolated Lines will not contradict and brings us straight in the middle of the night. Saturation, noises and modular variations are confronted to some melodic slackening, making this track a great immersive weapon.Invited to one of Submersive's label night at Batofar in 2015, Albert van Abbe closes the ep by giving us a completely new version of Bevel's Hob. We easily recognize the original track's lead, mixed this time with raw classic drum jams. Somewhere between Electro & Techno the Remodel version of Albert van Abbe overwhelms by its effective authenticity.From Brendon Moeller to the young and promising Techno scene, this second ep pursues Submersive's mission into the Techno abyssal depths.

* Atheos is a ferocious new collection from Rotkeller, which sees the Swiss electronic duo (Laurent Schmidhäusler and Federico Sutera) double-down on the brooding energy of their previous releases with a renewed intensity—fusing bold electronic experimentalism to dense, maximalist techno.

* Whether on the slow-burn immensity of opener 'SW', the monolithic, doom-laden expanses of 'Malz' or the spellbinding surge of '17. October', Atheos showcases a dark melodic complexity from the duo—in part brought on by the use of both digital and analog recording techniques.

* While the mesmeric, choral melancholia of EP closer 'Godless'—its eerie and beguiling textures echoing all that has preceded it—offers-up ominously open-ended ending; solidifying Atheos as Rotkeller's most atmospheric and cohesive work to-date.

* As if that wasn't enough, EOMAC (Stroboscopic Artefacts, Killekill, Trilogy Tapes, Bedouin) caps Atheos off in style, with a savage edit of '17. October'. The remix that pushing Rotkeller's original track into new rhythmical directions—the glassy rhythms splintering like shards of light across an eternally eclipsed landscape.

Set for release in both physical and digital formats on May 5th, Atheos marks Rotkeller's first EP for Swiss-based record company Thrènes (which takes its name from the Greek word for funeral lament) and are a label dedicated to the release of tenebrous electronica and techno.

De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He's released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.

While Beau was visiting Brussels he stopped by Maoupa's house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.'Crepes' is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.

All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.

MFM 019 will be an EP of works by Denis Mpunga and Paul K. Combining elements of traditional African music with experimental electronics, the Belgian/Congolese duo released only a handful of tracks, scattered across a few rare LP and cassette compilations that were put out in the mid eighties by obscure european labels . This release also includes a few previously unreleased songs that were found on the original master tapes

High Plains is the duo of Scott Morgan and Mark Bridges.

Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan's generative music app ADRIFT, recorded in Seattle in 2015.

In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

Inspired by Schubert's Die Winterreiseand the rolling landscapes of
their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

Cinderland takes cues from classical, electronic and cinematic
musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges' cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

The results are a site specific, wide scope view of thehigh valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

The cover art forCinderland was created by London-based artist, Peter Liversidge.

To begin the year with, Antinote summoned Panoptique and JC Satan's Paula to release a badass two-tracker, paying a pared-down tribute to a very overlooked period in recent musical history: the accursed electroclash-era.
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At a time when 'Balearic' has become the new musical gospel, the holiest adjective one can use to describe one's music (and therefore, electroclash has become the musical antichrist - to keep going with the biblical comparison)... while everyone seems to glorify stuff like Ibiza's 'endless sunsets', the duo happily kicks over the anthill with a song, a record and a band soberly called Succhiamo (first person plural of 'to suck' in Italian). The title-track straightforwardly announces what the main elements of Succhiamo's music are: over-saturated simple patterns of drum machines and EBM-infused lines of synths backing overtly sexual vocals in Italian. Nothing more, nothing less.

On the flip side, Succhiamo deals with the same formula in depth, engaging this time in detailing a meaningless list of products available in the 'supermercato'. The song conveys a nihilist - but fun - attitude, and it just sounds as if the band was crashing a car in a commercial zone in high spirits... As a kind of inheritor to Ich Bin, Succhiamo offers to bring some stupidity in the club and gives serious dance music producers the finger, like some irreverent Franco-Italian Beavis & Butthead.

Ricky L and Marcoradi have been friends for as long as they can remember. They frst met on the dancefoor of one of Italy's most iconic clubs, Red Zone in Perugia, where Ricky has been a resident DJ for the best part of 25 years. Now, they've joined forces in the studio for the frst time, uniting under the Hear &
Now alias for Claremont 56. Those with a keen knowledge of Italian dance music will know their impressive track records. Both have a history of producing fne deep house records and remixes for the likes of Ibadan, Uomo, Reincarnation, Top Tracks, Restricted Tracks and Vega Records. With Hear & Now, they've decided to step back from the dancefoor, instead producing hazy, emotion-rich music for after-hours listening, and mornings spent blinking into the sunshine. A-side 'Hirundo' is a thing of rare beauty: a gently fowering opus constructed from shuffing, mind-massaging drum rhythms, spacey pads, stretched-out
organ chords and Marcoradi's effortless guitar playing. Lilting, alien synthesizer refrains seemingly tumble from the heavens, intensifying the duo's blissful mood. Flip for an even deeper excursion, the softly spun wizardry of 'Sabbia Magica'.
Here, the duo's house infuences gently rise to the surface. This is slow, deep and dreamy house from the top drawer, with jazz-fecked guitar fourishes and undulating electronics combining effortlessly with hypnotic, metronomic drums,
cascading string lines and a wonderfully dexterous electronic bassline. You can dance if you wish, but you may just want a hug instead.

Klyne first caught everybody's attention with their critically acclaimed debut Paralyzed EP for Aesop, as well as their maiden remix, a rework of Disclosure's Omen feat. Sam Smith. Water Flow is their follow up to the acclaimed Don't Stop, their Because Music debut released earlier this year; its stunning video was directed by acclaimed choreographer and film maker Holly Blakey (Florence and the Machine, Jungle, Coldplay, Young Fathers) and is nominated for a UK Music Video Award. The duo supported Years & Years and label mate Christine and the Queens on tour this year, and performed their first UK headline show for the sold out Dummy presents Because Music event at the Ace Hotel, London in the summer. More shows will be announced shortly. Vital Sales Points: "mellow electronic pop that's like a long-lost cousin of Jai Paul" - The FADER "infectious and effortless... groove-laden soulful masterstrokes" - VICE / Noisey "minimalist vibes, captivating vocals... impeccable melodies" - Pigeons & Planes "gorgeous electro-pop" - Spin "more fire from the young Dutch duo... the boys are off to a strong start" - i-D

East Wall was an Italian electronic dark wave band formed by Fabrizio Chiari (ex keyboardist of Kirlian Camera) and Wilma Notari in 1982. After a series of demos and live performances, the duo recruited Angelo Bergamini of Kirlian Camera to help with arrangement and synthesizers. In September 1984 they booked a recording time at Master Studio 33 in Cremona Italy. Working with produced Ray Masola, they recorded their debut single 'Eyes Of Glass', which was released on No Comment in early 1985. The equipment set up was a PPG Wave 2, Roland ProMars, Roland Juno 60, Simmons drum, and an upright piano. 'Eyes Of Glass' is an outstanding example of 1980s Italo disco full of dark, moody atmosphere and depth. Wilma Notari's coy vocals cast a spell on the listener as she weaves a story about lost love and 'bitter tears'. Included here are the original extended 12' mix and instrumental version with mid-song breakdown and dubbed out chorus.

Julian Stetter might be best known as 'one half of the electronic pop duo VIMES', but he is no stranger to the Cologne club scene. His debut EP 'Insides' stems from a long history of djing and organising underground parties across the city. A resident DJ and collaborator at Cologne's famed JackWho club, it was these surroundings that drove Stetter to dive deep into producing. His first solo project is now set to be released on the label PNN. It features three tracks plus a remix by Beyou. Stetter's sound is polished and the precise production of each three tracks make this EP feel far from debut. 'Emily' is the first track set to be released this Friday. It draws you in on shimmering waves that rise and break into a deeper and spacier sound. Warm beats are interjected with random snippets of whale song. Listening to Emily feels like receiving a welcome hug at an after party.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

For its 25th release Kiev-based label Artreform invited exceptional artists - legendary Moscow electronic duo SCSI-9. For Artreform Anton Kubikov and Maxim Milyutenko prepared the new track in their recognizable styles of groovy, meticulously arranged tech-house with a myriad of nuances. Trombone Groove EP promises to become a perfect gift for all who loves SCSI-9's music since their iconic releases on famous label Kompakt and their own Pro-Tez.

Back for one more night with Hardmoon London. Fresh new, gritty, mind-altering tracks by way of Steve Murphy and the eight armed, cephalopod mollusc, DJ Octopus. The Duo are bringing their ecstatic energy for an exciting break in the the label. Definitely count on some serious hardware action to create the finest dance-floor melters. Encapsulating only the cream of the contemporary electronic sounds with the beautiful renditions of classic house just laced with fat sweltering bass and heavily distorted seizure inducing melodies.

Dark Entries returns to the New Jersey basement studio of Smersh to unearth a 4-track selection from the 'Deep House Anthems' cassette. Smersh was the duo of Mike Mangino and Chris Shepard, who began making music together in 1978. They were uninterested in traditional notions of songwriting or live performance. Recording in a domestic setting necessitated the abandonment of live drums for rhythm machines, and the Smersh sound would gradually change with each new bit of gear they acquired. The Electro-Harmonic Rhythm 12 gave way to TR606, TB303, and SH-09. Most Monday nights, they would write a new song from scratch. A couple hours later, the song was recorded, never to be performed again. By 1988, they had already put out at least 16 different tapes on their own Atlas King imprint. They would be followed by as many more. Some of those (subsequent) tapes there were less than 10 copies that got made because nobody wanted them. They couldn't get reviewed,' says Mike Mangino. As these tapes traded their way across continents, Smersh developed a devoted following in places far beyond Piscataway, leading to releases on dozens of other labels from around the globe. Smersh's sound is a lush hybrid of techno, industrial, dance, and experimental. Most songs revolve around driving EBM style beats, intricate industrial noise manipulation and synth melodies. For 'Selected Deep House Anthems' we selected 4 tracks of pulsating acid techno, which were recorded live, direct to DAT. All songs were originally recorded and released in 1991, and this the first time all but one of these songs are appearing on vinyl.

POP AMBIENT - our longest-running compilation series after Total - sees a new instalment for 2017, featuring exclusive material from acclaimed genre veterans and series newcomers JENS-UWE BEYER, YUI ONODERA & SCANNER, MAX WÜRDEN, LEANDRO FRESCO, THORE PFEIFFER, KENNETH JAMES GIBSON and SOULSAVERS remixed by WOLFGANG VOIGT.
Following his own cues from preceding entries, Pop Ambient chief curator Voigt again strikes a perfect ratio of established producers and debuting guests: our complete Pop Ambient solo album crew makes an appearance, from JENS-UWE BEYERs atmospheric soundscapes on the tracks FINAL 9.1 and FINAL 10, to THORE PFEIFFERs glitch romance GOOD LIFE, LEANDRO FRESCOs beatific drone fests SONIDO ESPAÑOL and EL ABISMO, as well as KENNETH JAMES GIBSONs melancholic epic HER FLOOD KNOCKED ME TO THE GROUND (BUT I WAS ALREADY THERE. Other returning artists include ANTON KUBIKOV of SCSI-9 fame (with electronic reverie DEKKA) and Cologne soundsmith MAX WÜRDEN, who was last seen releasing wonderfully immersive albums on BineMusic and Wolfgang Voigt's very own Exponate series. His guitar-infused, dubbed-out cut FERNFELD and the mysterious electronic mantra 186.000 MILES PER SECOND are particularly striking renditions of the rich sonic narratives possible in Pop Ambient.
For the 2017 release, we welcome Tokyo-based Pop Ambient novice YUI ONODERA with his tracks CROMO1 and CROMO2, which both serve as opener: a trained musician and architectural acoustic designer by trade, Onodera embeds diverse influences from traditional sound design, film scores, contemporary composition and electro-acoustic experimentation in his work, resulting in intricate drone sculptures and sound skylines. This skill set gels naturally with the sonic sensibilities of iconic experimental composer SCANNER who teams up with Onodera for the cut LOCUS SOLUS - it's an incredible honour to have such a towering figure in advanced electronic music on board. Wolfgang Voigt himself makes an appearance as remixer, turning the track HAL from electronic-rock-gospel duo SOULSAVERS' 2015 album "Kubrick" into a voluptuous and immersive sound journey. It's the cherry on top of a particularly fluffy cake that will prove irresistible to any connoisseur of ambient music.

ustice are a French electronic music duo consisting of Gaspard Augé and Xavier de Rosnay. The band's debut album † was released in June 2007 to critical acclaim. The album was later nominated for a Grammy Award for Best Electronic/Dance Album and came in at number 15 on Pitchfork's Top 50 Albums of 2007 and number 18 on Blender's "25 Best Albums of 2007" list.The band's remix of the MGMT song "Electric Feel" won the Grammy Award for Best Remixed Recording in 2009.
The band released its second album "Audio, Video, Disco" in 2011.

In the lead up to their 5th year as a label Music is love celebrate by continuing their infamous VA series the 'LOVEBOX'. Sticking to the winning formula of a hefty double vinyl package comprising of 8 tracks from 8 top artists, this time they have some familiar people alongside new faces to the label.
Kicking off the package in fine form is South London's prodigy Wbeeza and his track 'Bodyman'. It's as if this track announces the the opening of the VA with its beat-less and thickly textured opening... when that beat drops you know your in it!
Label main stay Jamie Trench is up next with his track 'Oil Spill ', this sees Jamie veering away from his tech house roots, delivering a quirky house track laced with an almost footwork groove.
On the Flip we see more new additions to the MIL roster as Ingi Visions ( Samuel Deep & Julian Alexander ) drop Nauyaca, a deep druggy track, with the kind of hypnotic flow and delicate arrangement the pair have become known for. Liam Geddes finishes up the B side , fresh from dropping the previous release on Music is Love his track 'reach out' continues to stamp his unique sound on the label.
And it don't stop...
As we reach for the second vinyl in this double pack we are greeted with a familiar site in the shape of Dutch duo New Jack City. 'Pick Me up' is everything you want from a NJC track, big, bumpy and beautiful.
Mak & Pasteman counter with their very cool track 'U Said', the boys are in serious form at the moment and this track is no different. Slick drum workouts decked out with Juno licks, what's not to love.
The final side welcomes another new act to the stable. Am Unit present their track 'Bang Dat'. With 'Bicep' style production values echoing throughout this track and THAT break, this one will be big.
Closing out the final track is label boss, Oli Furness. 'Broken Summers'. A huge 808 rave workout. Broken beats and sub rattling kicks are the setting for this track, finely polished electronic music for those with a fondness for rave.

The album should be considered a continuation of 2013s critically heralded album "This Time We Go Together". The story follows a duo of wanderers finding each other and traveling through life - hand in hand without roots. A 'love conquers all' theme which has been a highly embraced motif in his more recent works.

'We become Ravens' con- sists of 15 electronica vignettes which craftily utilize synthetic soundscapes, memorable melodies, timeless introspection and Gudmundsson's signature electronically infused beats.

Having been an integral part of the Icelandic Electronic music scene since his debut album in 1999. 'We Become Ravens' is a pinnacle release by a well seasoned veteran of electronic music's fringes.

We've had our eyes on Jaures since they formed in 2014. Jaures's drums are neither techno nor electro but something of their very own, making the duo one of the most interesting young production units in Germany right now.

Andrea Pellegrinelli and Davide Brugola are two men born and bred in the traditions of italo and electro disco. The duo, as Forklift & Saw, release their debut 12', Regression, as they melt past influences into the present. Meandering hooks, emotion soaked keys and snapping rhythms are at the centre of this Milan partnership's music. Across four tracks the pair delivers crashing snares, starlit synths and rumbling arpeggiators. Infectious full bodied funk oozes from this fledgling outfit, crisp percussion supporting their night gazing melodies. Welcome to the world of Forklift & Saw.

Following the excellently received Dilation LP on FILM, the duo return to the Berlin based imprint for a remix package featuring FaltyDL, Grand Optimist, Djrum & Portable Sunsets. Erol Sarp & Lukas Vogel's ingenious use of the grand piano has won them many plaudits over the years. Working solely with the sounds of the grand piano and a set of 20 self-built hammers hitting the piano on different parts - filtered & warped in an extraordinary fashion, the pair craft dense, rousing music - kept fresh & current with nods to IDM, ambient & techno. As such, the original recordings are fertile ground for remix opportunities, and the FILM label call on a who's who of left-field electronica to reimagine the work. NYC native FaltyDL takes on Newtons Cradle, flipping the original and turning in a stepping, psychedelic slice of half time proto-Footwork while both Phillip Otterbach, operating under his Grand Optimist alias, and 2nd Drop's Djrum offer tripping, ambient reinterpretations. 1080p's Portable Sunsets reimagines key LP cut Neon as fuzzy beach house jam, reseting the original & eeking out a wholly different energy with driven drum machine hits & a soothing vox line.

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.

Gerd Janson and Phillip Lauer are creatures of habit. Every week, the two club veterans meet up at Phillip's studio and spend an entire day making tunes. And while Gerd often likes to joke that his role in the arrangement is limited to making coffee and looking at his cell phone, it's clear that the two men have forged a potent partnership, one that's been responsible for an astonishing amount of dancefloor heat over the past few years.

Incredibly, this German pair has managed to maintain a relatively low profile, despite the steady stream of music they've released via well-respected labels like Unterton, Delsin, Internasjonal, Permanent Vacation and Live at Robert Johnson. And then there are the remixes—Azari & III, Scuba, The Juan Maclean, Fort Romeau, Avalon Emerson, Massimiliano Pagliara and Sinkane are just a small sampling of the artists who've enlisted Tuff City Kids to work their studio magic.

Throughout it all, there have been whispers of a proper Tuff City Kids album, and now that Adoldesscent has arrived, it will be all but impossible for the duo to linger in the background. After all, the LP is anything but shy—thanks in part to hooky vocal turns from the likes of Annie, Joe Goddard, Kelley Polar and Jasnau—and even the album's instrumental cuts feature some clear nods to various eras of dance-pop, from the boogie-inflected funk of 'Wake People' to the breakbeat techno of 'Boilered' and the tweaky rave nostalgia of 'Nordo.' Elsewhere, first single 'Labyrinth' is an infectious bit of new wave, while the guitar-driven 'Scared' recalls the gloomier side of '80s pop and 'Tell Me' is perhaps the record's most playfully soulful moment.

DJs will likely gravitate toward the darting strings of 'Aska' and breezy vibes of 'Farewell House,' yet Adoldesscent isn't entirely focused on the dancefloor. Dreamy opener 'Ophmar' evokes the legacy of John Carpenter, while the crunchy 'R-Mancer' offers up a sort of psychedelic synth freakout.

Much like the Tuff City Kids themselves, Adoldesscent isn't about any one style or sound in particular. It is, however, a cohesive effort, along with proof that the different corners of the electronic spectrum have a lot more in common than we'd all like to admit. More importantly, it's a whole lot of fun, and isn't that what dance music is supposed to be about anyways

Diseño Corbusier is the avant-garde electronics duo of Javier G. Marín and Ani Zinc, formed in Granada, Spain 1981. Like Sheffield's relation to London during the punk explosion in the UK, Granada developed an experimental music scene 400 kilometers south of Madrid. As a child, there were no records in Ani's house, so she grew up listening to the radio and was hypnotized after hearing 'Remember Love', by Yoko Ono. While attending university in Granada she responded to an ad in a music magazine by Javier, If you're into bands like Cabaret Voltaire or Flying Lizards, call me'.

The duo recorded their debut album Stadia' in 1982 and self-released as a limited edition cassette on their label Auxilio de Cientos. They drew influences from contemporaries like SPK, Throbbing Gristle, Esplendor Geométrico and DAF. They employed the 'cut-up' technique William Burroughs used to write his books to splicing their magnetic tape loops. Instruments used included a Korg Lambda, Boss DR-55 drum machine, Roland SH 101, and MFB 501 drum machine. The lack of money to buy more expensive instruments forced the duo to be more creative. Everything was recorded directly to a cassette player that was plugged into a Revox B77 reel to reel tape machine to add echo. Ani manipulated and treated her naive, menacing vocals to match Javier's processed rhythms. These early sketches contain atonal, arhythmic, thick shifting curtains of synth, loops and radio samples. For this reissue we've added 7 bonus tracks taken from various cassette compilations, as well as three previously unreleased songs. Elements of industrial music, primitivistic techno and vocal manipulation are fused with a Dadaist approach utilizing modern technology.

All songs were remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The front cover is an exact replica of the band's original design, restored by Eloise Leigh. Each copy includes a 4 page xeroxed booklet with photos, press clippings and liner notes from Javier. Powerful and evocative, soundtrack music for a rising storm or revolt.' Sound of Pig magazine 1985

Collapsing Horizons is the third full length album from Netherlands based deep ambient duo Tangent.

Limited clear with white splatter and blue with white vinyl. NON-RETURNABLE

This album much like the two preceding it—2013s "1mk2" (Mindtrick) and 2014s "Transience" (Tympanik)— is a sonic journey with arching atmospheres and themes. An aural representation of the formation of matter and it's disintegration in unison. The music, much as the album's namesake, could very well be the soundtrack to new universes being created on the ashes of collapsing ones.

Ralph van Reijendam and Robbert Kok who are the two behind Tangent moonlight in a long list of paradoxical musical projects. Fire Walk with Us, Rob Klerkx and the Secret, Disavowed, and Synesis Absorption are all quite different from Tangent's sprawling yet steady ambience.

This such daily musical juxtaposition allows Tangent the immersive focus on the ideas that make Tangent what it is. It would be a misnomer to think that with all the extra curricular time spent in more extreme forms of music that Tangent is a frenetic force. They are exactly the opposite. Dense pads, rolling beats and brilliant shimmers of resonance punctuate their electronic based instrumentals in just the correct manner to stargaze, day-dream, bliss-out, or even brood about starting over...

Synths Versus Me is a prolific duo formed by Vanessa Asbert and Nico Cabañas. They already put out a bunch of releases edited by Oráculo Records. Minimal Synth, EBM and Cold Wave from Lloret de Mar (Spain).

This 12' EP (ltd. 300 copies) includes two brand new tracks and two exclusive remixes. The original version of 1987' is an atomic bomb of pure vintage EBM in the vein of Signal Aout 42 and Front 242. The remix done by Dirk Da Davo from The Neon Judgement keeps the feeling of the track but adding some drums, guitar samplers and sequences trademarked by this Belgian legend. On the b-side there is the original mix of Aimless Device', an electro-pop tune with catchy melodies, analogic bass lines and female voices. The remix prepared for this track by the new american sensation Boy Harsher is a surefire dancefloor full of hypnotic beats and dark atmospheres. All tracks remastered by Eric Van Wonterghem at Prodam Studios (Berlin).

MONDO DISKO club has been, for over the past 16 years, the flagship for discerning electronic music lovers and dancers in Madrid. With a loyal and enthusiastic crowd and a booking policy that combines a selection of solid resident djs alongside a list of high quality international artists, creating a record label seemed to be the most reasonable step to follow..

MONDO DISCOS is born as an extension of the club, with the sole intention of bringing to light musical projects that excite us, projects with which we feel particularly identified.

For our first reference, which we found particularly important as it will set the tone, we have a very special and mysterious proposal called MENTHO. This is the brand-new side project of a well known house duo that wishes to remain anonymous for now, and wanted to dig deeper into their more experimental side

Teo's Sock consists basicaly on a mix of electronic, experimental music, halfway between mental electronic vibes and instropected techno. Polirithmic and intrincate patterns with an afro sounding background, deep and moody synth work and an overall endless melodic vibe.

Launched in 1996, PLOINK has been a core brand in Norwegian techno for two decades now, booking the likes of Jeff Mills, Juan Atkins, Derrick May, Carl Cox, Radio Slave and Richie Hawtin, as well as launching a
record label that champions Scandinavian artists. With the likes of Prins Thomas, Mental Overdrive, Nordenstam, Mind Over MIDI and label founder Thomas Urv appearing thus far, 96-16#3 is the third and final
instalment in the 20-year celebratory releases.
One of Norway's well established electro/techno artists over the past 15 years, Skatebård begins proceedings with the sinister 'Kapitalsystemets Belastning' featuring menacing bass and otherworldly synths,
before Bergen's Kahuun demonstrates a concoction of keys, effects and atmospherics with 'Sherlock'.
Next, Kristiansand's +plattform, who's just launched his Graatone imprint, introduces powerful kicks and eerie drones in 'Reluctant', making way for the percussive and rhythmic 'Helle Farben' from analogue-loving duo Dormund. Faarikaal Records founder Henrik S' 'Phobos' then ventures into sci-fi realms with spacey aesthetics and echoing stabs until Krill Music boss Espen Lauritzen ties up the release with the intricately produced 'Tromsø'.

Three years on from the release of the critically acclaimed debut album, Undergrass, Mushrooms Project return to Leng with a two-track taster or their forthcoming follow-up full-length.
In the intervening years, Giorgio Giri and Marco Lentano have hardly been slacking, further exploring their unique blend of glistening Balearica, dubbed- out disco, Italian Afro-cosmic and psychedelic nu-disco via EPs for Horn Wax, Uber and Hell Yeah! Recordings. Their latest two-track missive is undoubtedly amongst the Italian duo's strongest work to date. The A-side boasts 'Dirty Bolas', an effortlessly summery groover destined to soundtrack sultry evenings and sun-baked afternoons. Its' rolling, percussive funk groove and undulating electric bassline keep the action moving, but it's the tumbling guitar solos, toasty
keys, humid electronics and atmospheric feld recordings that catch the ear. Flip the 12' for 'Sunset Ballad', a near ten-minute epic that more than lives up to its' name. Soft, delay-laden acoustic guitar passages and yearning electric piano fourishes set the tone, before the Parma-based production duo
gradually ups the pressure via a shuffing groove, whispering acid lines and quietly bubbling synthesizers. It's undeniably rich and life affrming, but best appreciated while lying fat on your back.
Dirty Bolas will be featured on the duo's second album, which is slated for release in the fnal quarter of 2016. For now, you'll have to make do with these two slices of seductive, sun-bright brilliance.