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In our series of related incidents we were out searching for a suitable incident to occur after our well received Black Merlin (George Thompson) voyage in early 2014 (it's been a long time, yes).
The following happened.
We approached "Will Flisk'' somewhere in the digital Jungle. Totally unaware that Will and George are actually long time friends.
ALL OF THESE INCIDENTS ARE RELATED.
Havamal inspired Briton 'Will Flisk' takes his filmic approach to music to the streets with his first output on our curious little imprint.
With the help of good friend Black Merlin (George Thompson) on synths and drum machines and Natasya Hodges on Cello, this amazingly orchestrated title track (Red Planet) takes us to different planets and back, even though our money is too short for commercial space travel.
Nashville, Tennessee's very own Grey People (Alex J Michalski) works his distortion on a sinister remix (B1) that's leaning towards the more techno side of things. for the B2, Will bestowed an amazing bit of roughness upon us.
With the blessing of Zoroaster the vinyl release will take place in January.

Soma mainstay Deepchord returns with part 2 of the Luxury Series. This Double A release feature Deepchord's signature atmosphere rich tones and lush environments and also mark a slight upturn in terms of pressing on a more Techno vibe.

Luxury 3 opens as spacious as can be as the dynamic Modell crafts otherworldly pads and haunting tones, driven by muted kicks and driving subs. His effective use of delay and reverb knows no bounds as he subtly shifts synth stabs and background noise through the dimensional barrier, creating rhythms so refined they defy the natural law. His usual percussive wizardry is at work here that, whilst vigorous, retains a light atmospheric feeling keeping fully in line with the melancholic tones of the track. Clocking in around 14minutes, this is Modell as his most immersive.

Luxury 4 has a distinct Detroit heart to it. Those almost instantly recognisable saw waves, moulded by layers upon layers of processing, swirls and evolve and Deepchord slowly works in various elements of the track to unparalleled levels. Fairly reminiscent of earlier, more stripped work, subtle percussion brings things to life fairly quickly as Modell allows the layers of ethereal synths and processing to blend and fuse naturally, creating a cohesive background to which the listener can easily spend hours listening to, every time finding ever so slight nuances to each cycle of the track.

Deepchord never fails to impress with every release and can easily change his style up from previous incarnations based in pure atmospherics to his own unique brand of legendary Dub Techno.

There is something singularly unique and peculiar in the degree to which seemingly unsettling themes and extreme taboos have been explored, most notably in the medium of film, in the land of Nippon. Free from the constraints of reality, notions of grotesque brutality, torture, fetishism, and sadomasochism, to name a few, have oftentimes served as driving motifs in the examination of the true nature of violence latent in the most repressed reaches of the human mind. Concurrently, in the realm of electronic music, many Japanese producers have often been able to cultivate and harness a daring yet distinctly refined and inimitable form of organized sonic chaos, one almost instantly recognizable to the occidental ear. The music of Tomohiko Sagae, and in particular his latest contribution to Furanum's catalogue, The Spurt of Blood, is perhaps a quintessential example of the confluence of the former themes and latter medium.
At the outset of the record, the beholder is faced with the 'Vacant Eyes' of a staggering monstrosity, a subdued and subjugated automata in the midst of a bleak dystopia, nearly lifeless but for the grudgingly conceded advance of its death march. As a battery of gratuitous aural violence led by a dominant synth is rapidly unleashed in the subsequent composition, a growing malaise transforms into fractured bone and psyche alike, with no distinction made anymore between the tearing of metal, flesh, or the fabric of the mind. Culminating in 'Severe Pain', with limits of endurance breached and descent into madness the only seeming form of respite, relentlessly rolling drums and hauntingly sublime howls provide the context for the dawning realization of pain as a virtue in and of itself, when a demented pleasure and the exhilarative liberation that lies therein begins to emerge. In the final act, reinterpreted by Furanum stalwarts Uncto, roles are tellingly reversed as the vacant eyes of the victim become that of the oppressor. With cold-blooded precision, the original is reengineered into a force of merciless domination, its elements machined and recalibrated for pure power.Words: PSD

After 14 years working with a huge spectrum of D&B greats, London based Irishman Cian McCann has long since established his place in the scene. From his early days in Dublin with the Bassbin label to working with the likes of Calibre, 4 Hero, Klute, Alix Perez, Rockwell and Noisia, he has never stood still. 2008's Cheap Shots LP for Total Science's CIA Records was a high point, with lead track Walk Away bringing vocalist Steo to the worlds attention. Also a noted remixer, he has retouched artists as diverse as Dillinja, Slam, Rolo from Faithless, Sabre, Lemon D and Lenny Fontana. Zero T's discography shows the diversity that his DJ sets have always shown, ranging from full vocal smoothness to darker, more technical styles. You are as likely to find his music on labels like Subtitles and Shogun as on Soul:r or Signature. 2010 saw two milestones reached; the Launch of Footprints, Zero T's own label, and compiling and mixing FabricLive052 for the esteemed London venue. After a short period away from the scene, 2014 sees the return of Zero T as a producer and DJ. Watch out for his collaboration with long-time cohort Beta 2 coming on Metalheadz Platinum soon and a follow up EP to the Roxy Music EP on Dispatch Recordings. Now The Prestige Music Group is proud to announce, 'Roundwood / Hurricane Charlie' due out in late September or early October

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch.
I said new but some of them are pretty familiar, which is the case with the almighty D'julz or Raw District for an incredible update on 2007 « Fast Forward » which deserves its title, Do I need to introduce D'Julz I don't think so, one of the most sought-after French dj and producer, he never disappoints.
Then we are pleased to welcome Accatone, having several EP's and remixes released since 2008 and a full album in 2012 on labels like Dabit, Apparel, Piston Recordings, Roots & Wings, One to One, to name some, and having his work remixed by legendary Matthew Herbert or Jay Tripwire (Poker Flat, Tonality), Piek, (Cadenza, Paulatine, diynamic), Accatone is becoming a full-grown producer by conquering the likes of Dj Sneak, Laurent Garnier, Stacey Pullen, Slam, Timo Maas, Danny Tennaglia, Olderic, David Labeij, Mirco Violi, Severino Panzeta (Horse Meat Disco), Paco Osuna and many others !
Scan Mode aka Alberto Sánchez began his career in the year 1998 and has since traveled throughout the Spanish territory, performing in major venues and festivals alongside the likes of Jeff Mills, Sven Väth, Dubfire, Marco Carola and Richie Hawtin to name a few. He is regarded as an eclectic artist who has taken different professional profiles during his musical career. His music is on the edge of House and Techno with brilliant melodies and rhytmic, Kike Henriquez began editing in Alex Flatner's labels, Later released on labels like BluFin, Greenhorn and with some of the best artists from the tech-house & deep-house scene, Introduced to David Duriez by Something Different(s head honcho Jesus Pablo, Kike soon joined the task force behind this new BR100 release, Another artist to watch out.

Early Support from:

Raresh / Nathan Coles / Dan Ghenacia / Claudio Coccoluto / Fred Everything / Tiger Stripes / Doc Martin / Shur-i-kan / Luke Solomon & more

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch,

Julian M, is french and is taking over right now, releasing here his first track on Briquerouge, But the man is no beginner, having released on Catwash, Homecoming, Denote, to name but a few and of course recently on our own RZ Muzik, His music is deep, acid, techy and ready to please any crowd, Ange Siddhar is working for Laboratory Records and works with legendary artists such as Ron Carroll, Paul Johnson or Chris Count and now teams up with Illan Nicciani on several House project, They have a strong vinyl lovers community following their releases and just joined the label with 'The Show'

Jepe was one half of John Waynes who already release on Brique Rouge and is now one of the most respected producer from Portugal, Actually living in Berlin, he has released on Get Physical, Blossom Kollektiv or MuleMuziq, Jepe's tracks have a very high level of quality, True House Music,

And last but not least, our good friend from Switzerland, mr Salvatore Freda, With the machine-driven futurism of Detroit in his step, and the bounce of Chicago in his shadow, Salvatore Freda is a pure vinyl DJ from Lausanne, Switzerland. With a production career that began in 1997, Freda has built up an impressive discography over the years. His music has touched some of techno and house's most respected labels including Trapez, Music Man Records, Liebe Detail, Freerange, Area Remote, Push Communications, Dessous, Nightvision, and Cadenza.

Early Support:

Dubfire / Nacho Marco / Matthias Vogt / Tyree Cooper / Ame / Clive Henry / Renato Cohen / llorca / Blacksoul & many more

The structure and the essence of this release, focuses on a current argument in which more and more people in this society are found to be the early protagonists, often without even realizing it.
The artist wants to tell and convey through his work, a point of view towards this theme.
As can be deduced from the title of the EP, the project is to express and represent a war of colors, which fight the monotony of everyday, always flat and dark.
The first track, "Daily March", wants to criticize this monotony through a full-bodied sound that recalls a real daily march, which many people are facing every day. All accompanied by a setting of hypnotic sounds that capturing the attention of the listener, carrying in a vicious circle in which one perceives the focus of the concept that the artist wants to communicate.
The second track, "Appearance Of Freedom" is the soundtrack for those who are trapped in slavery everyday life, believing to be free or at least trying to able to escape from the monotony, but then realizing that it is only an appearance. The sound of this second soundtrack fully embraces with the first, almost as if it were a single story that is going to evolve, arguing the rebellion that the artist wants to express in this state of being of the person in the present life.
To accompany the two original works of Kalos, there are two remixes by great artists, the first made by the Irish duo Lakker, which are able to communicate their idea of daily march through their strong version, being able to also expose them a very clear message.
The second remix is made by the Begian artist Yves De Mey, for the track "Apperance Of Freedom" where he captures in full the message of the track and re-edited, bringing attention to the full-bodied bass carefully distorted, creating a trip hypnotic evolving.

Producer CRISTIAN VOGEL, born in Chile and in raised in Bristol, England, represents an inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which authorship, previously pronounced dead, returned in full force. The former punk, who had completed studies in composition (20th century classical music in Sussex) conveyed a powerful force in his music, which now finds its place very naturally as electronic music; back then, it did more than just shake up the concepts of techno. Complex and intricate rhythms (Süddeutsche Zeitung) dig deep chasms in dark (listening) spaces.

In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest he perceived in others in music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities where music is thought of as an attack and a defense.
Seemingly out of disappointment in the predictably declining hedonism of the scene, he moved to Barcelona and bound his explosive ideas to more accessible formats, founded labels, created networks (No Future, Sleep Debt) and, at the same time, revisited his early days by working more and more on formats such as music for ballet and similar concepts. He also sought freedom precisely in what was referred to as functional electronic music through conceptual and serious endeavors in the artistic sense.
Vogel went under for a time and lived in Vienna before arriving in Berlin nearly two years ago, where he made his first new and daring attempt to assimilate everything that electronic music represented to him on one album: 'The Inertials' on SHITKATAPULT. Shortly after that, his mystical, floating ambient work 'Eselsbrücke' was released, which already spoke the language of the new city.

He now presents a new album on SHITKATAPULT entitled 'POLYPHONIC BEINGS' - a true masterpiece in the inimitable Vogel style, as his fans will no doubt claim. 'POLYPHONIC BEINGS' begins, after two minutes of an irritating noise wave, with a surprisingly classic dub track and grows darker and more abstract from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel's own cosmos.
He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the "atomic layers of ourselves." And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

The III Rivers juggernaut sets forth once again, release number 4 The Charivari EP, putting Voiceless in the cockpit and leading the charge.

Second Nature sets a dark, sultry and ominous tone as Voiceless deploys a plethora of sounds and moods that resonate with all the tense drama of the label's affiliated club night, Bohemian Grove.
Big laser beam synths dart through a thick pitch black haze while a factory line percussion section hammers on.

Always keeping a foot in the sonic warfare division, we get three locked grooves loaded and ready for battle, funky, electrified technoid wobblers that should fight off most opposition with ease.

Flip the disc and Opt-out opens with a controlled urgency as a barrage of kick drums sets the train in motion. Voiceless layers up rich, untreated piano chords against the backdrop of dark industrial chaos, percussion artefacts career around the mix and various elements are put through an aural meat grinder before the familiar and welcoming piano motif returns like a long lost friend, guiding us through the smoke hand-in-hand. A beautiful juxtaposition of soulful melancholy and cold, glacial machines.

Final track Charivari really hits the accelerator as a tough and mechanical rhythm jolts against blurred, radioactive pads and searing string lines before collapsing into a fractal breakdown introducing mystical, weaving high end leads. An eyes-down fist pumper of the highest order and one that commands excessive smoke & strobe light abuse late, late into the session.

One to close off one of their infamous soirees in style, hoards of mutant dancers leaving the industrial backdrop of the club's venue and crossing paths with the early morning dog walkers and Sunday strollers. Four releases in and we've lost none of the quality control, unique drive and free minded 'true spirit' (to quote Tresor's legendary catchphrase). The label goes from the strength to strength and with it, brings a whole new generation of techno shamans under their wing.

ZOV ZOV is a collaboration of Oliver Ho and Tommy Gillard - the culmination of almost 10 years of unreleased sound experiments. The two artists have worked on building up a vault of music that holds hours and hours of material.

This debut release signifies the first step of compiling this huge archive of material into reduced and distilled installments. Ruin Lust holds four sonic excursions, which further define the boundary-challenging aesthetic of Shifted's emerging sub-label Mira.

ZOV ZOV, a new word to describe something unknown, something ancient and deep inside that floods from the depths of the earth.

The unsung hero of melodic techno prepares to step up to the Poker Flat plate for a second time, continuing the partnership that began with the epic 'Planet Funk EP' earlier this year. Vince Watson is a stalwart of the scene and truly in a league of his own: an unparalleled discography, a singular flair for arrangement, and a signature sound of lush layers and deep irresistible grooves. 'Rock It' is another complete chapter written in Watson's unique vocabulary. The EP's title track's swift pacing and bright multi chords-create a constant state of uplift and progression, movement and light. Subtle changes and hypnotic building loops drive this number towards a state of blissful contradiction: slow-burn euphoria. 'Sonar' contains all the scale, emotion and colour that the title may suggest; a prominent chord progression is sustained throughout, running through the track like a shot of neon, ensuring its future a peak time anthem. 'Feel It' is the yin to the yang of the previous tracks, easing into a looser, deeper tech house tempo, and unravelling tight melodic harmonies for breezy watercolour washes of pads.

The outboard loving, super talented young Russian producer returns to Bokhari.

No short clip could ever do Triptych justice - it has three distinct parts which are woven together with immense skill. Not for those who buy tracks for 5 second loops!
A totally absorbing and evolving piece...

Another production masterclass on the flip as 'More' gently builds around atmospheric pads, crisp percussion and a creeping acid line.
Finally Dotylus wrap things up with a bold rework of Tryptich, marrying immersive synth washes to an insistent rhythm track and more than a nod to early 90's electronica

To celebrate the 10th release a download code is included containing five unreleased free tracks of Bokhari artists remixing each other - includes remixes from Gnork, Life Recorder, Semerka, Clarke Sawkill & Gitchell Moore.

Artwork reproduced with kind permission of Sue Wicker.

Slo -mo house at it's best deep shape, including the rare, sought after Maurice Fulton remix for Alice Smith 'Love Endeavour'. Compiled by Rainer Trüby.

We live in hectic, turbulent times. It seems season- and reasonable to slow things bit down. In fact: slow house down to what we calling now: SLOUSE. Implying down to earth club music, with a tapping foot under 116 beats per minute.
House music and its many sliding genres have ruled the clubs and charts, well, a special focus on the slo-mo house is well-deserved.
Rainer Trueby become a guarantee for vanguard soulful dance music and club tunes with such special vibe, which he had formidable approved not only as a DJ but also with sucessful compilations like - Glücklich', - Maiden Voyage' on Compost, DJ Kicks (K7) or compilations for Nuphonic, King Street, Talkin' Loud and other labels.
Rainer Trueby, an artist who spreads love like in the good old days, selected some of the best tunes on the planet, some rare, sought after like the rare Maurice Fulton Remix for Alison Smith - Love Endeavor', in demand tunes like S3A - Deep Mood Act2' or Ron Deacon's - Untitled', amazing discoveries like the Moonstarr tune, or a Laid Back remix, few underrated tracks, well all tracks are worth the grab and get played again & again. It's a full palette of slo-mo house flavors and moods as Rainer Trueby takes us on a magical trip into his imagination of Slouse.

The result is a future classic compilation with melodic and groovy masterpieces, made for your home-, garden-, car- , club listening pleasure. It works for the happy hour as well as the after hour.

Hope you love it as much as we do !

Created in an industrial workplace in Leyton, where Canary Wharf punctures the skyline, Circle Traps craft music made in the image of the modern city. The group consists of Jack Wyllie, Duncan Bellamy and Will Ward and was formed in East London in 2010 and quickly scored their first release on fellow East Londoner Subeena's Opit Records in early 2011. Their eponymous debut EP earned serious critical praise from the likes of The Wire, Quietus and Fact Magazine. Their attention to ambient textures is reminiscent of Actress and Daniel Lopatin, but their unique, multi-layered, crystalline vision is consistently offset by dance floor impulses that nod to Detroit through the likes of Model 500 and Derrick May. The Machine City EP is a lush amalgamation of textural, distorted melody and bassier dance floor leanings.

Great music extends father than your ears can hear. Listening to resent recordings of Peder Mannerfelts music is listening to recordings of a complete creative flow. Superb tracks created inside of Peder Mannerfelts Villa Nellcôte.
Opener "Rhythm Inflection" is similar to a heartbeat but rebuilt using a parade of machines and biting ice-cold sounds that implies a climax that never comes.
Repetitive thuds are the wrecking ball of "Technology As Apathy" while saw waves continuously crunch until your ear are obliterated on "Failed Grammar". "Titled" is the centerpiece, however. Its sonic gears grind into hollowed-out spheres. A voice from the heavens echoes "Reset, reduce, turn up, repeat" until the words lose all meaning and are battered into the metal walls by distilled rhythms.
EP2 is the last ashes of a manuscript that's been waiting for ages to be turned into dust. It is the final nail in the coffin of his past that began with EP1 and Lines Describing Circles. Peder Mannerfelts music is gradual and always on the move, the process spans over the whole production.

Earlier this year, Micha Acher and his band The Notwist returned with their latest full-length 'Close To The Glass' and received rave reviews around the globe. Yet, it's not the only album he's going to release this year, since Acher's about to introduce his latest musical entity - the Alien Ensemble. It's an all-acoustic line-up, devoid of electronic enhancements. And even though all members have a background in jazz, this is no classic 'jazz music' either - there's simply no need to show off technical skills... Since you'll hear anything from Minimal Music to Krautrock influences, from delicate brass sections to the sound of New Orleans, it's pretty much impossible to pigeonhole Alien Ensemble's sound or slap a genre term on it.

Key Fachwerk team member Sascha Rydell is back on his home label founded by Mike Dehnert with another EP of searing techno. 'Thought Disorder' is a cantering, bulky affair with clipped vocals trapped in the middle of meaty drum loops. It's a well-swung track that has plenty of height to it, while 'Haptic' appears to make sue of the same vocal phrases. This time it's subtler, buried deep in a minimal percussive line and dubby, swaying drums. With some cute finger clicks joining the fray, this one is perfect for early evening warm-ups where the opener is a peak time banger. Filling up the b-side is Moony's remix of 'Rings Of Smoke' - a track by Roberto that was released on Fachwerk's previous EP. This new remix is a jazzy bit of dubbed out house with whispered vocals, uneven but warm piano chords and rolling kick drums that all make for a seductive and propulsive listen