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Struments Records opens 2014 presenting ''Fire to the Empire'', third record in 12'' format from this Barcelona label. Following the special dedication referred to the local talent shown by the label in its two previous releases, in this occasion the reference is signed by Clip!, relevant artist in the Spanish electronic scene that, after a versatile and prolific 2013, shows in this publication a new coordinate of their chameleonic sound. Thereby opening the door to more visceral coordinates, opaque and less intense dance that exudes less kindness and infects the club atmosphere with light and dark. The set, consisting of three original songs (Fire, Ash and Bitch), and a remix of ''Ash'' by the British artist Kommune1, discovers on side A two descriptive and powerful snapshots of translucent clubber atmosphere, winding and unfiltered. Proper of the dance hours closer to twilight in the shadows and lights mergers into sensations. While on the B side, the artists pays tribute to the most evasive and escapist concept that music can evoke, forged between the rage of techno and the subtlety of house, when instinct takes control over any convention and presents itself as a purely physical experience between the listener and the sound. Closing the total minutes of the reference, Kommune1 prints cosmic and expansive notes to ''Ash'', as well as he brightens the original version. ''Fire'', the central tune that starts and gives name to this third reference of Struments Records responds to six minutes that shapes a direct and powerful presentation letter. In which you can acknowledge progressive melodic phases and raw vocals that serve as a growing force of initial contact. ''Ash'' continues the incursion between hard and chiaroscuro dynamic, printing analog rhythm coordinations. ''Bitch'' represents the exact balance and highlight of ''Fire Your Empire'' EP, sobriety in enviromental nuances, vocal flare and power high-flying shape a depth completely orientated to the dance floor that condenses much intention in a speech coherently aligned with the sound. Kommune1 sets ''Ash'' with an eye towards fantasy and space, using resources in the original maximalist melodies and rhythmic accelerating phases provide the remix to get faster.


DJ Support:

Alizzz (Mad Decent)
The EP is so well balanced. Loving that analog feeling. 'Fire' makes me
dream, I get in trance with the bass and those pads on 'Ash' and I want
to listen to 'Bitch' really loud in the Berghain. Much support.
Jorge Caiado (Balance/Groovement)
"Excellent and fresh EP!! All tracks are powerful and effective, can't
wait to play them. My favorite is "Bitch" but Kommune1 also did a good
alternative mix to "Ash". Keep them coming Struments!
Kresy (Hivern Discs)
"Great EP. Bitch is my favourite"
Broke One (RBMA/Magic Wire Recordings)
"Aweome EP"

Darshan Jesrani's new project Funn City continues to break open the notion of modern vs. retro and challenges the listener to categorize what is found inside. Extending the experiment in modern disco without re-treading already explored ground, Funn City offers a playful and rebellious approach to the recombination of old and new. Funn City sticks lightly to the fusion of live and electronic instruments, and heavily to its varied influences from rock and r&b to house and techno, yet casts them in a delirious, neon-lit sheen. 'All-Night People,' the project's first offering, is a relentlessly-upbeat, vivid, saturated trip of a maxi-single inspired by that liminal area of late-70s dance music which existed between shitty, bluesy rock, new wave and disco. Otherworldly, gurgling synths surf atop truncated, slashing guitar and thick, pattering congas. Taut synth sequences spar with sinewy lead lines and trashy vocals, bound together by a precise, modern sensibility, enticing you to waste your time inside a glorious, pinball machine dream. The dub on Side B works most of the same features but empties out the arrangement and infuses the mix with a bubbling, techno-inspired sequence and phaser-licked synth to create a new, more streamlined groove for the track-oriented dancefloor and style of play. Startree is proud to present this first release as a mission-statement in musical form and an indicator of things to come.

Seule une étude concise des différents mouvements automates de la musique électronique et leurs constantes permet de les subsidier par des séquences pré enregistrées plus ou moins longues et des les varier dans leurs assemblages via dans un premier temps des outils informatiques simples avec des contrôleurs appropriés. Réunir l'esprit d'un studio d'une période, endroit, d'un style, d'un type de machines ou de marques, la multitude des genres et styles à travers sampling ou reproduction, les possibilités sont presque infinies dans un maigre espace après de longues heures de travail. Une sensibilité suffisamment entrainée peut les naviguer. Ainsi le glorieux "rétro boy" avec sa boite à rythme et son synthétiseur, manifeste de la préhistoire de la techno, tout comme plusieurs personnes manipulant ces machines ne sont qu'un simulacre de ces groupes musicaux des siècles précédents. L'artiste en sa matière assemblée, construite et mutante, lui seul touche à l'individu dans son plus proche appareil. Dans l'enfance de la musique électronique dansante, le musicien reproduit l'autrefois essentiellement acoustique dansant directement sur un petit ensemble d'appareils et ne pouvant qu'agir sur de faibles transformations sonores, restreint à des possibilités de son par les ingénieurs d'une firme parait bien triste dans l'échec de la libération de ses semblables. Aujourd'hui par le biais de la multitude des supports et leur consultation facilité par les nouveaux médias, naviguer entre pratiques d'autrefois et connaissances de ces anciennes cultures tout en les combinant au mode d'aujourd'hui permet le rassemblement de la culture d'une lignée dont le point vectoriel semble remonter vers la naissance d'un certain assemblage physique qui engage un peu près toujours un certain ensemble de mouvements déclenchés autour d'un axe sensible ici non seulement à l'interaction sonore dans un isolement provoqué mais aussi dans le rapport du corps dans l'environnement construit autour d'une énergie artificielle ayant pour but principal le déclenchement de couches successives de vents à modulation de fréquences variées et pulsées à de multiples échelles par la sensibilité humaine de plusieurs personnes à plusieurs époques et rassembler autour d'un même esprit festif harmonieux. Ainsi, c'est l'enregistrement de ces performances que nous vous proposons dans son grand esprit dérivé à l'architecture économique proposée par la société d'aujourd'hui.

Dark, sexy and catchy, FIRE has inspired four distinguished remixers: house and salsoul from Clement ASWF, Hispanic and cinematic from Daniel Maloso, tropical and funky from Hypnolove, electro and dreamy from Kasper Bjørke. Fire walks with them.

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

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

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

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

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

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

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

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

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

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

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

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

NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD

NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. The CD

D-Edge are proud to present "Black Belt", the stunning debut from one of Brazil's most important figures.




D-Edge Records are proud to present Black Belt, the debut
album from Brazilian DJ, producer, club and label boss Renato
Ratier. After emerging with some already impressive EPs, the
time has now come for a full artistic statement that spans 17
tracks of slo mo electronics, deep house ambiance and tripped
out, disco inflected grooves.
Rather than this being a collection of dancefloor tracks, its
more a carefully programmed journey that takes you up and
down through many different moods and grooves, but all of
them untied by Ratier's analogue textures, unfamiliar hooks
and futuristic melodies.
Opening with the found sound recordings and muffled ambiance
of 'Love Me Tokyo' the album goes through the funky licks of
'Jamaicanese', the well-sampled 'Midnight Sun' and freewheel-
ing deep house and ethereal melodies of 'Teatime'. The latter
half of the album points more towards the dancefloor with the
title track's knotted bassline, the deep and spaced out house
hypnosis of 'Fetisshu' and plenty more besides. It's a stunning
debut from one of Brazil's most important figures.

Building upon the foundations laid by his stunning debut single for the label, 'Theme Park / Off Topic', Blu Mar Ten Music is proud to
present the second single from prodigiously talented young producer Frederic Robinson's forthcoming album, 'Mixed Signals'. A
natural successor to the aforementioned single, the two tracks on offer here, 'Bloom' featuring Stray and 'Shore', give a further insight
into the depth and diversity of his work and what you can expect from his debut long player when it drops later this year.
On 'Bloom' Robinson teams up with experimental electronic producer and fellow BMTM alumnus Stray, for a characteristically
forward-thinking and unique exploration of 170bpm's outer possibilities. Built around a skittering tribal rhythm, lush synths and
acoustic instrumentation weave in and out of the track's skeleton over a deep b-line punctuated by elegantly cut ethereal vocals. With
the pair fluidly building and deconstructing layers as the track evolves and effortlessly shifts grooves, the track's nuances make it as
compelling for home listening as it is fresh on the dance floor.
This is paired with the delicate percussive timbres and rich ambience of down tempo offering 'Shore'. Here Robinson's off-kilter,
organic rhythms combine with a dense patchwork of piano, strings and natural textures to create a track that is as beautiful as it is
haunting, aided by the distant call of Robinson's own vocals.
Already receiving support from revered taste makers such as Giles Peterson, Mary Anne Hobbs and London Electricity, the depth and
quality of Robinson's music is quickly starting to make people stand up and take notice. Quickly proving himself to be an inimitable
talent, the new single is a worthy addition to his musical canon.

We call them the rat pack of our beat scene. With all diversity in sound, the three producers are unified in their love for dope beats and high-proof drinks, both catered and consumed with style and expertise.

Suff Daddy, the globetrotting gin connoisseur and minimoog player with domiciles in Berlin, Düsseldorf and Sydney. He has released three solo albums and has worked with artists like Miles Bonny, Fleur Earth, Ta-ku and Elzhi. After a one year stint in Sydney, he returned to Berlin this spring.

Brenk Sinatra, the Wien-Kaisermühlen homeboy, Westcoast rap fanatic and producer of the forthcoming MC Eiht album. Last year Brenk released the critically acclaimed S3 album together with US singer Miles Bonny and has laced beats for an armada of MCs from both sides of the Atlantic.

And last but not least Dexter, the Stuttgart based trip maker and platinum producer with a day job as a pediatrician. This June Dexter released his second solo-album 'The Trip' a homage to the psychedelic rock era and one of the most innovative and genre bending hip-hop albums of 2013.

All three first met at the Hi-Hat Club, the producer series that we started a couple of years ago with the goal to push and celebrate the art of beat making. With their respective volumes 'Suff Draft' (Suff Daddy), 'The Jazz Files' (Dexter) and 'Chop Shop' (Brenk Sinatra) each of the guys put the instrumental hip-hop thing on a new and different level. None of their beats need a MC to be complete, they are full songs in their own right.

The official birth date of the Betty Ford Boys was the 2012 Beat BBQ in Cologne where Dexter, Suff and Brenk performed together for the first time. Right after the now legendary gig, that was ended by police forces Suff Daddy left for Sydney so that most the recordings for the Betty Ford Boys debut album took place in the cloud. Right after his return to Berlin, the Boys jumped on the bus and played their first club tour which finished with a gig at the Splash Festival.

On August 30th, the Betty Ford Boys release their first album 'Leaders Of The Brew School' on Melting Pot Music. The record combines the best of three worlds and has a surprisingly chilled Westcoast vibe. It's perfect summer music, it's edgy and relaxed at the same time and keeps you thirsty for more ....

*This is the second solo album from Ken Camden who lives and works in Chicago. He also plays in the Implodes sound quartet. *Space travel is the dream of many and the reality of few. Since Yuri Gagarin rst shed the bonds of earth gravity in 1961, only about 500 humans have made the trip beyond the atmosphere. *Ken Camden travels to space while still grounded on terra rma. His vessel of choice is a guitar and some effects with which he journeys on fantastical expeditions and surveys the biggest territory of all, the one between your ears. *The glimmering sound elds he forms could be a soundtrack to an epic 60's science-ction lm, or a long forgotten grade school educational lm strip explaining how humans would be living on Mars early in the 21st century. *Camden's narrative rejects the dominant dystopian view of the future and posits that there are great voyages yet to be made in inner and outer space. *The album forms a gravity-free environment in which the listener is suspended, enhancing an aural excursion to the outer reaches of the musical Kosmos. *Press quotes for Lethargy & Repercussions: 'Transcendence achieved.' Tiny Mix Tapes 'It's an album that, although it's only been recorded once, feels forever embedded in the present tense when you listen to it.' Attn Magazine 'Ken Camden fuses the mystery of Eastern scales with Krautrock and Karl Stockhausen inspired themes, yet his sound remains futuristic.' Bearded 'Awesome record of shimmering, electronically modied solo guitar music. The pulsing, gated rhythms do have a certain (k) / (c) luster that reminds me of Achim Reichel and / or Steve Hillage, but the sound- palette is decidedly contemporary, with endless synchronized delays & comb lterings making the proceeding just so rich & dense.' Keith Fullerton Whitman *Track listing:

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

BNJMN pops up with another splendid and relevant EP.. featuring a remix from Legowelt/Xosar combo, Xamiga. TIP!
Artistic inspiration can come in many forms. On his latest 12' for Rush Hour - his third for the label since 2012 - BNJMN was inspired by one of the wonders of nature, namely the curious combination of speed and grace that is the humble hummingbird.

'I was really interested in how hummingbirds have much faster wing speeds to other birds, so they can hover and fly slowly,' he explains. 'This seemed to tie in with some ideas I'd been playing around with, to create tracks that are fast and accelerated, but could also sound slow.'

'Hummingbird', the title track of an impressive four-track EP that's noticeably cleaner, crisper and sharper than his most recent outing for Rush Hour, 2012's Unknown 2, captures this idea perfectly. Propelled forwards by a lone, 140 BPM kick drum, its waves of crystalline synthesizers and picturesque melodies seem to gracefully hover above the stripped-back rhythm. It's intoxicating, exciting and calming in equal measure, whilst retaining BNJMN's usual dancefloor punch.

'At a club recently someone came up to me after I'd played 'Hummingbird' and said he didn't realise how fast he was dancing till afterwards,' BNJMN says. 'I was really pleased with that, because I'm fascinated with how the energy and tempo of a track can feel different depending on the environment you're in, and how you're feeling.'

He took the same approach with the EP's other original tracks. 'Slow Wave', with its relentless sequenced arpeggio, tumbling melodies and sludgy groove, performs the same trick of the ear, thanks in no small part to clever combinations of fast and slow elements. The melancholic 'CRVD', with its mournful chords and darting, techno-influenced grooves, is similarly schizophrenic.

The EP concludes with its most straightforward dancefloor moment, an inspired remix from Xamiga (AKA Xosar and Legowelt). Decidedly cosmic - like layered, melody-driven analogue techno beamed down from a distant galaxy - it delivers a deeper, hazier alternative to BNJMN's pin-sharp original.

We're very happy to welcome aboard new imprint Back To The Balearics

It's a label on a mission to uncover music with significance, special sounds that can make a moment out of nothing.
In an increasingly fast and disposable world the need for such moments is more important than ever.

The first release, by Belfast's MARICOPA, perfectly defines that sound. His electronic tracks blend naïve beauty with emotional depth in a sonic landscape devoid of all the usual musical clichés of dance music.
Back To The Balearics is a journey to nowhere in particular with plenty of musical stop overs on the way.

We hope you will take the trip...

The Descent of Man EP is the third and last part of a trilogy on vinyl dedicated to Charles Darwin studies. This final chapter is focused on the darkest side of electronic music and his impact on human psychology. As Charles Darwin studied the evolution of physical and mental traits, we want to show how obscure, trembling and aggressive sounds generate an increasing sense of agitation and loss while mild and gloomy atmospheres can relieve the body and brain, achieving a peaceful state of mind.
Don't be afraid to move into a shady space. This is not the end even if it could be.

New Jersey based producer Jorge Velez returns to Echovolt under his brand new guise Bridge & Tunnel Kids with three tripped out, psychedelic journeys of the Detroit kind plus a remix by fellow 'outsider' Willie Burns!

DJ / Press Quotes
2012 was a prolific year for the New Jersey based producer Jorge Velez also know as Professor Genius. He recently spread even more his name with his 'MMT Tape Series' release on Rush Hour Recordings and the blinding sountrack-ish 'Hassan' album on the notorious L.I.E.S. from New York.

Jorge Velez and William Burnett joined their forces in 2009 and their collaboration tracks became the first release on the Echovolt label's catalog. Their debut EP came under the name 'PG&S - Motorik EP' and contained some freaky krautrock electronics.

After four years, Jorge Velez and William Burnett (aka Willie Burns) return to Echovolt. This time Jorge Velez delivers three tripped out, psychedelic journeys of the Detroit kind under his brand new guise Bridge & Tunnel Kids. This fresh Echovolt release is topped off by a remix by fellow 'outsider' Willie Burns with his unique sound signature!

First of two new bassheavy techno-ish dub EP's by Mystica Tribe. Four tracks of excellent electronic dub with heavy techno and acid influences. Although only his second release after his debut in 2011 with ''Meditation Stick'' the Japanese Mystica Tribe already delivers a powerful trademark sound: loose, shuffling beats, layered with heavy basses, tribal percussion and trippy elements, like the dark acid tale on titletrack ''Flowers'' and the classic melodica stabs on ''Fractale'' and ''Moon & Stone''. Tokyo Dub at it's best.

Anthony Naples, the in-demand producer whose name is on the tip of everyone's tongue, has returned with a new EP for Will Bankhead's Trilogy Tapes. After the release of the magnanimous House-styled Mad Disrespect EP on Mister Saturday Night Records last year, El Portal EP sees Naples using fragments of previous releases but evolving these into new realms of sound.

banging tribal electro dub ... travelling between bass music, jungle, and dub. Original new efficient sound, fresh and powerful !

Vae Victis can't hide their love and passion for raw house and techno. On this 5th release there is another fine selection of hybrids between styles perfectly expressing their love for genre bending music. Durant exsists out of a small collective of producers with main roles for Steve Murphy, Die Roh and Lucretio, alongside Blawan. "The Dove Ultimatum", a 4 tracks ep of punchy analogue electronic music! On the a-side lay General Motors and At Ten, 2 broken beat electro techno tracks a la Drexciya showing the hardest and most experimental side of the project. While on the flip the trio bring things on a housier field, though staying loyal to the a-side vibe by delivering 2 dark and obsessive raw house tracks.
Support:
Ben UFO, Analogue Cops, Truss a.k.a. MPIA3, Tessela, Happa, Herva...

Wenn VOIGT & VOIGT im Studio aufeinander treffen, fliegen die Funken innerhalb dieser einzigartigen Maschinerie namens Kompakt gefährlich tief. Das resultiert oft in der ungewöhnlichen Kombination komplett separierter Elemente, die plötzlich zu lautem Geplauder anheben. Auf ihrem Album-Debüt DIE ZAUBERAFTE WELT DER ANDEREN gehen die Voigt-Brüder einer Vielzahl von Einflüssen nach, um eine unvergleichliche Klangwelt zu formen, die zum ersten Mal das vollständig realisiert, was frühere, inzwischen klassische Tracks auf SPEICHER andeuteten. Zeitgleich produziert zum essentiellen Techno von ERDINGERTRAX, entscheidet dieses Album sich für eine psychedelische Erzählstrategie und führt so auf brilliante Weise die experimentellen Neigungen von Voigt & Voigt vor Ohren... ohne dabei das eigene Wissen um den perfekten Groove aus den Augen zu verlieren.

There has been much speculation about the significance of the Mayan system of timekeeping. Many researchers on the subject have verified that the Mayan long count calendar, which is only one of several advanced timekeeping tools devised by the Mayan people, comes to an end on December 21, 2012, with no real clear explanation as to what exactly that signifies. Some have speculated that it was meant to point to a cataclysmic event that would end the world as we previously knew it, while others have hypothesized it to indicate some worldwide shift in consciousness around that time. This musical offering is not meant to speculate on the meaning of this date. Instead, it serves as a tribute to one of the most astronomically, mathematically and architecturally advanced civilizations in the history of planet Earth. Each track is a tribute to one of the many Mayan spiritual sites known to date. While only four of these temples are acknowledged in this recording, many others have been rediscovered and more are yet to be found.

the second part of the in-demand " Cero" by Galarude ( DJ Kent and homies from Sly Moongose and Tokyo No. 1 Soulset ) that had been a secret weapon of a selected few DJ glitterati since it's original Japan-only release in 2004 delievers another set of knockout mixes: Prins Thomas flatens the originals tribal elements with hard whiping beats and a forceful steamroller of a bassline yet keeps the headmessing ingredients intact with all those swirling, spinning soundparts that one can also enjoy in higher dosage with the "ambient miks" for daytripping on your homecouch. Tuff City Kids aka Lauer and Gerd Janson corrborate how they persistently tweaked themselves to the a-list of remixing teams with two expertly constructed, infectiously swinging house mixes that keep the acid purity level high and carry the promise of a neverending summer of love.

*Presenting a new collaboration featuring Oren Ambarchi on guitar, the electronics of Robin Fox, and both performing on various other instruments. The music on this album came about as the result of the two being asked to co-compose the soundtrack for a new production by renowned Australian contemporary dance company Chunky Move for their Connected production.
" Chunky Move's artistic director Gideon Obarzanek was drawn to the organic and deeply musical qualities of Ambarchi's work and the digital, almost scientic quality of Fox's sound. Over a process of many weeks these two aesthetics were merged. Working both in the Chunky Move studio and Head-gap studio in Melbourne, new works were forged from both digital and analog sources. 
" This release brings together two of the most extraordinary artist/musicians working in Australia today. Both are renowned internationally for their individual practices, and here they join forces to produce powerful music that fuses Ambarchi's legendary guitar sound with Fox's mathematically rigorous tones and textures. This fusion results in sound works that stretch in scope from the sublime and spacious to the intensely dense and foreboding. Treading a precarious line between music and abstract sound, between organic and inorganic tones, this collaboration is a must listen for anyone interested in contemporary soundworks.

Flying Lotus has scheduled the release of 'Until The Quiet Comes', the long awaited follow-up to 2010's Cosmogramma and his third on Warp Records, for a worldwide release on October 1st.
Composed, according to Flying Lotus, as 'a collage of mystical states, dreams, sleep and lullabies', Until the Quiet Comes has the distinct feel of this nocturnal trip. From the twitching descent into a subconscious state and the out-of-focus time-ether of the journey that follows, the sound is an unhinged, yet elegant evolution of the melodic and rhythmic interplay that is woven into the DNA of Flying Lotus' aural personae.

Oh Holy Molar is the second album from UK trio Felix. The group produces a bewitching, minimal chamber pop that works as the perfect framework for singer/songwriter Lucinda Chua's oblique and emotionally immediate stories of superstition and searching for protection against bad omens.
*As a follow up to their debut You Are The One I Pick, the band return with a collection of songs with a sound stripped back to its very core. Something is said to have "teeth" when it has the ability to make an impact. This record certainly has "teeth", and sharp ones at that.
*" The album was recorded in a vast, spooky 1940s cinema in Nottingham, England, now converted into a studio. After recording was completed the band discovered that underneath the live room lay an abandoned Dental Laboratory. "Oh Holy Molar" indeed.
*" Since the release of the rst Felix album, pianist/vocalist Lucinda Chua, also an accomplished photographer, has been working on a number of projects, most recently with Wallpaper* in Detroit. Guitarist Chris Summerlin has been recording and touring with his new band Kogumaza. The group is completed with the recent addition of drummer Neil Turpin who, when not performing with Felix, can also be found touring the world with French composer Yann Tiersen.
press quotes for You Are the One I Pick
'It's a gateway into another headspace, one aglow with uncertain magic. As statements of romantic intent go, 'Death To Everyone But Us' must represent either the most  straightforward, honest distillation of the love song, or the creepiest.' BBC
'In Felix's world, everyday mundanities give rise to furtive explorations of human interaction and ineptitude in a manner as oppressive as it is oddly and honestly addictive.' Drowned in Sound
'The duo keep things refreshingly simple, with single strands of piano, guitar, and cello in quiet symmetry, leaving the listener ample room to savor Felix's knotty, enigmatic songcraft.' Pitchfork
'There is mystery and elegance in the marrow of this music, and I imagine this record will prove to stand the test of time, reserved to be pulled out for the perfect accompaniment to just the right brooding but whimsical mood.' Delusions of Adequacy
track list:
1.The Bells 2. Sunday Night 3. Oh Thee 73 4. Don't Look Back (It's Too Sad) 5. Hate Song 6.Oh Holy Molar 7. Blessing Part I 8. Blessing Part II 9. Rites 10. Who Will Pity the Poor Fool 11. Pretty Girls 12. Practising Magic 13. Little Biscuit

Hailing from South Africa, SFR lays down his first imprint for Wheel and Deal. Vha Venda: Tribal style vocals open to stomping 808 half step roll out building into a broken 4×4 skank. Nci Nci: Carrying the latest Wheel and Deal 4×4 electro style with gritty LFO'd bass and skipping drums. Dance floor smasher.

Speedcore Underground from la Foudre (No Tek), breakcore Hardcore electro from Middle M (a very nice and original track here !), Chilling Breakcore electronika from Dajhne (Kabal) and regular Amiga Hardcore style from Dark Side Klinykal... Superb and out of the comon fields.Full color printed sleeve.

2024 Repress
Following the legendary first two, stoically super minimal records “SOG 1“ and “SOG 2“ that provide ecstasy disguised as boredom on Kompakt Extra/Speicher in 2007, and the outstanding beautifully bizarre “SOG - Abweichung“ on Profan in 2010, we are now listening to “FREMDE HÄNDE“. Like its predecessors, this SOG stands in the tradition of „The Art of Omission“ with Wolfgang Voigt variegating his preference for the bluntly straightforward quaver bass in two different forms. The A-side contains a tonally noncommittal sequence ambling across the keyboard in quantised form, reminiscing of the arpeggiator (accompaniment function) function of early 70ies' and 80ies' synthesizers. On the B-side, daring and thoroughly unquantised quaver rhythms rock around a bass drum that, as the only straight element, tries to keep the whole thing together. The result sounds a little like a delirious Can Live.

Nach den legendären ersten beiden stoisch-superminimalen, als Langeweile getarnten Ekstase-Platten “SOG 1“ und “SOG 2“ auf Kompakt Extra/Speicher in 2007 und der überaus skurril-schönen “SOG - Abweichung“ auf Profan in 2010, hören wir nun “FREMDE HÄNDE“. Auch diese SOG steht natürlich ganz in der Tradition der “Kunst des Weglassens“. Wolfgang Voigt variiert hier seine Vorliebe für den stumpf-geraden Achtelbass auf zwei verschiedene Weisen. Auf der A-Seite haben wir eine tonal unverbindlich über die Tastatur wandernde Sequenz in quantisierter Form, die an die Arpeggiator (Begleitautomatik) Funktion früher 70er und 80er Jahre Syntheziser erinnert. Auf der B-Seite kreist die Achtel-Rhythmik in eher rockigem Sound ganz und gar unquantisiert und rhythmisch gewagt um die Bassdrum, die das Ganze als einzig gerades Element versucht zusammen zu halten. Das klingt ein bisschen wie Can live im Vollrausch.

Rockwell's rise to prominence as a rare, distinctive talent has been exciting the electronica music circuit the world over. Critical, thankfully, being the trusty forefront for all things audio-aesthetically delicious, presents the 'Aria EP' - 4 tracks of sound sublime, exemplifying Rockwell's refreshing angle on energy in the club combined with the characteristic, meticulously playful technicals, precise and thrilling as ever.The charmingly rustic intro of 'Aria' unleashes striking Flinstones-esque wooden triplets, scaling the track as stirring vocals weave through; haunting and uplifting at once, the title-track exudes sheer class. Slightly more buoyant, 'Live For The Moment' infuses an energetic tempo with profusions of ear-carressing funk and those ever-characteristic percussive twists - naughty all over. Swiftly plunged into apocalyptic darkness, the Ulterior Motive boys take a sinister liking to 'Noir'. Distinctly menacing and genuinely frightening, what better to bully the atmosphere than Hell-raising bass and staccato violins. Listen out for the breakdown bass - horrific and enriching, this track is dark by Devil's definition. Icing on the cake collaboration with underground legend Untold comes in the form of 'Rehoku Sunrise', a tribal earthy worldly masterpiece of running drums and raw, wild samples, glazing the soul in bliss. Bellissimo.

After several hot releases on Labels like Cadenza, Kling Klong, Globox, Capsula and his own imprint called Andes Music Chile based Producer Francisco Allendes is back on the street and debuting for Phaze Records. Two great tribalistic tracks with hot remixes from Someone Else (Foundsound, Resopal, Glückskind, Microcosm) and the Bad Boys !!

Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked López Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP.

Recorded in 1976 in the wake of the "Proceso de Reorganización Nacional", the bloodiest period of dictatorship in Argentina, the album was initially frowned upon by critics and public alike, both still firmly rooted in jazz traditionalism and obviously not ready for the new ideas that musicians like López Ruiz were experimenting with. Despite being a commercial flop upon its release, the album has been enjoying a growing reputation over the last two decades, acclaimed by jazz enthusiasts who value it from a different historical perspective and embrace its experimentation during this revolutionary period of change.

Forty-five years after its release, the album receives the Altercat treatment with a much deserved deluxe reissue, with sound direct from the master tapes and an accompanying 12-page booklet with previously unpublished pictures and bilingual liner notes telling everything you ever wanted to know about the album and those who made it possible.

This is a pure bomb of party Breakcore, musical and efficient. Dirty and Hardcore... Electro and Drill... A perfect tool for all DJs who tries to make the crowd crazyest than ever !

The unstoppable Spaziale Recordings set their sights on an absolute Paradise Garage classic from 1982 - the much sought after and instantly recognisable ‘Together Forever’ by Exodus. This fully licensed, remastered reissue comes housed in a full picture sleeve and contains a killer DEF Mix from Stefano Ritteri alongside the original extended vocal and dub versions.

Bursting with passion, ‘Together Forever’ is a record that was destined for greatness. A Larry Levan favourite, and for good reason. Produced by Errol Mattis and featuring one of the most sampled vocals in house music, there’s a triple threat of plucked basslines, clavinet power and joyful horns backed with the kind of percussion that ignites a rarely witnessed tribal energy within. It’s had crowds in fits of frenzies ever since its release and every collection deserves this gem nestled within it.

As well as the original extended vocal and dub versions, Stefano Ritteri steps up to add his own special touch, giving it some proto house power. He echoes and manipulates those fiery vocals, introducing each element gradually from the acid tinged topline to the layers of drum machine heat, gradually building the suspense to pure fever pitch.

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

Over the past fifteen years, Florida-based multi-instrumentalist Eric Lanham has quietly generated a diverse and remarkable body of work both as a solo artist and in group settings. From the disorienting drone/collage ecstasies of Caboladies, his trio with Christopher Bush (Flanger Magazine) and Ben Zoeller, to wildly divergent solo flights under both his own name and as Carl Calm, Lanham’s carefully meted out recordings display the talents of a chameleonic composer who is as capable a sound designer as he is unconcerned with trend in experimental electronic music or notions of prolificness. “Objet Dirt” arrives ten years after “The Sincere Interruption,” his excellent longplayer for the now defunct Spectrum Spools imprint. Captured live, these compositions are brimming with kinetic, elastic, off-grid rhythms, an articulate and enigmatic language that restlessly darts around the stereo field. Of the collection, Lanham says "I haven't made a single piece of music that sounds like this since and it is hard to imagine doing so again.” If this is the case, the 20+ minute closer is a formidable final document. At once chaotic and tightly controlled, it is a torrent of coiling low-end, submerged and stretched rhythms, and seething high-end filigree that is as indebted to the hungry ghosts of free improvisation as it is anything resembling techno.

“Trash Can Lamb” is a new solo album from Akron, OH-based multi instrumentalist Keith Freund. For the better part of twenty years, Freund has been producing intimate, shape-shifting music on his own and as part of collaborative projects such as Trouble Books, Lemon Quartet, and Aqueduct Ensemble. Here, he concocts a heady, homespun broth of analog synthesis, bit-reduced sampling, piano, standup bass, saxophone, and location recordings, arriving at a loose and evocative set of songs. Throughout the album, we hear 8-bit experimental delays mangling airy acoustic materials, denaturalizing them into primitive loop structures while retaining their golden-hued, melodic cores. The sputters, hisses, and croaks of handmade electronics nuzzle up to wistful piano and saxophone ruminations; the pure pandemonium of chaotic triangle wave patching and filtered noise settles into the serenity of a backyard dusk full of spring peepers (or maybe they’re crickets…). It’s in the space between the ragtag and rough-hewn and the romantic and yearning that Freund situates these compositions; it’s a peek inside a workshop that sits atop the trees, branches scraping on the windows, bluejays who just won’t knock it off, a table fan spinning slower and slower, its cheap blades covered in dust.

All music by Keith Freund, with contributions by Linda Lejsovka, G.S. Schray, Steve Clements, and Corey Farrow.
Mastered by Kassian Troyer at D&M.
Art/design by Alex McCullough and Felix Luke.

Amsterdam might be susceptible to grey skies and rain as any other, but cup your ear to the music flowing out of the Dutch capital, and another story emerges. The Mauskovic Dance Band are a prime example of an act who have been dialing up the sunshine over the river Amstel in recent years.On Shadance Hall, their first release of 2020, they concoct a tantalising brew of no-wave, psych rock, cumbia, power dub and numerous other colourful shades of global grooves.

No stranger to Dekmantel as one of half of electro-grouping Bruxas, Nicola Mauskovic leads his percussive troupe through a heavy, trippy, disco fiesta with this, their first debut on Dekmantel Records.
The Mauskovic Dance Band’s epic sonic journey on Shadance Hall began deep in the Welsh valleys. Partnering dusty drum machines alongside phat layers of congas, assorted bric-a-brac of percussive tools, and distortion-soaked guitars, Mauskovic’s ensemble suspend the tempo and turn up the grooves. on this soundsystem-inspired, post-punk odyssey. The resulting soundsystem-inspired concoctions are a mixture of 130bpmbeats (‘Ventura Phase’), Jah Wobble-influenced bass rhythms (‘Squeeze Dogs’) and Carnival-ready soca-jams (‘Theorie Amerikaan’).

Taken back to Amsterdam’s famed Electric Monkey Studio (a favourite for Ghanian great Ebo Taylor and Dutch youngbloods Jungle By Night alike, Mauskovic teamed up with engineer Kasper Frenkel to mix down the record. Here the two acted as Mad Professors, experimenting with the recordings and making multiple versions of each track by creating tape loops, bouncing the audio back and forth and layering the resulting recordings in waves of reverb and echo. In classic dub style, the band ended up with dub edits, rich in space echo, reverb, crush, and dub-goodness, completing the second half of Shadance Hall like a funky palindrome. It rounds off an expressive EP steeped in musical history, bursting with inventiveness, projected at the listener as a maze of influences to get lost within.