quête:ep 4

Sare Havlicek veröffentlicht sein viertes Album "Softmachine" auf Nang Records. Es ist ein Synthesizer-Epos mit zehn Tracks, das uns durch mehrere musikalische Aromen von Electronica, Italo, Dancefloor, Disco und sanftem Soulpop führt.

Moodoïd is a psychedelic rock band founded in 2013 by Pablo Padovani, the project's leader and mastermind. Early nicknamed the 'new prodigy of French pop music", Pablo wrote and conceived a first very peculiar, pop and psychedelic album. They notably toured with Phoenix and played with renowned musician and producer Damon Albarn. Soaked in psychedelic pop and world music, the songs written by Pablo Padovani evoke just as much Os Mutantes tropicalism, Connan Mockasin dreamy atmospheres and Gong progressive liberties. Supported by French lyrics, Moodoïd blasts genres, times and horizons. 'Reptile' EP is a natural evolution of the project towards a more modern sound, without losing its so peculiar synthetic and funky touch. The very composition of the tracks clearly indicated the need for studio musicians, in order to develop every disco/funk aspect of the record. The recording of the album happened in two times : first, Pablo set up the band and directed their recording (with experimented sound engineer Yann Arnaud), and then this 'live' matter was reworked and integrated to Pierre Rousseau more electronic production. The track 'Reptile' is a new proof of Moodoïd's sloughing. Only passion and lust have resisted the project's solitary soul Pablo Padovani's metamorphosis. Moodoïd changes skin, but skins keep on caressing. More erotic than toxic, Moodoïd's new venom progresses through funky guitar and synthetic arpeggios, with Pierre Rousseau and Pablo's producing, and David Wrench (The XX, Hot Chip, LA Priest) mixing.

The Remixs:
Pointsman - we dont know who he is but he provide a deep big room monster.
Tripmastaz - Probably the only funky Russian you will ever meet. The only Russian artist with releases on Cocoon, Minus, Desolat, Cadenza. The only Russian artist with 4 vinyl labels. Hes funky housey remix is the most faithful of the four.
bpmf - Schmer label head provides a grimey and noisey big bottom Soviet style jam.
Steve Stoll - NYC Acid legend made a hard banging acid tracer.

In 1996 Serotonin label heads Selway and Szostek went to Moscow to perform at the invitation of Magazine. Synapse performed at the Waterclub' and met the legendary DJ Compass Vrubell. They went to his studio' where he had perfected the art of making entire tracks out patterns on the Yamaha DX-5. Szostek brought a DAT of these jams back to NYC and Schmer-003 DJ RX-5 A Taste for Crap' was released as a small run white label in 97. The run sold out and disappeared to be forgotten forever...

Until 2016 Szostek casually mentions its existence to Techno Uber-Nerd Nina Kraviz who just had to have it for her Fabric 91' CD. So DJ RX-5 was back from the ash heap of history and Schmer got a NEW release from him on Schmer07.

Then Schmer got the word out far and wide that they'd like a remix EP for two of the originals: Compass provided stems because like a miracle he still had the patterns after 20 years. Heeding the call were Pointsman, Tripmastaz, Steve Stoll and Schmer's own BPMF. So this is what you get: A Taste for Remix'. It will leave your lips wanting more, for sure!

Calypso's next EP comes from one of the label's owners, Thomass Jackson. Delivering 3 tracks full of psycodelic guitars, analog synths, soothing percussions and with Italians "Boot & Tax" on remix duties, this Ep covers a broad range of sounds and styles. The journey begins with the westernesque "Head Rejection" sumerging us in a hallucinatory desert full of weird snakes and scorpions. Up next is "Witzelsutch"(a leftfield secret weapon for some djs already) with sublow basses and sharp synths doing all the work. "Creepy PC" is a slow chugger with a trance-inducing vibe aimed to make you close your eyes and let go. Last but not least, Italian super duo "Boot & Tax" delivers a somewhat more straight foward version of "Head Rejection" where a sonic synth makes you forget you are in the desert.

* Back with the heat, Chicago native DJ Jana Rush kicks off Objects Limited's 2017 with her debut album 'Pariah'. Jana Rush received attention for her mind-bending drum acrobatics on last year's 'MPC 7635' EP also released by Objects Ltd. Jana started djing aged just 13, releasing her first record on Dance Mania back in 1996 but having a hiatus from music between 2000 to 2013. With 'Pariah' she has created an album rooted in Chicago's footwork sound, but with a myriad of influences, such as jungle, acid, soul, jazz and house, developing her sound on from 'MPC 7635'. By popular demand from a kickstarter, now on vinyl!


* We kick off with 'Midline Shift' whose breathy, clipped erotic vocals intertwine with a pulsing bass and dry 808 rims creating a shimmering robotic effect. Moving on, the frantic 'Beat Maze' confuses the mind with white noise rushes and interlocking snares. Changing the scene, 'Divine' is sweetly soporific and charming, a beautiful, almost eerie track. The pace picks right back up with ' ', whose warbling jazz clarinets cut into a juke bounce. The stripped back beats of 'Break It' give one room to breathe before the croaking bass and distorted acid of 'No Fuks Given'. 'Old Skool' is exactly what you'd expect, its sample syncopated around a feverish rhythm throughout. Both 'Rapid Fire' and 'Acid Tech 2' are bangers, hitting you deep in that sweet spot. Jana brings it back down with 'CPU''s computer noises and sub bass hits. 'Chill Mode' gives time for reflection after all that fire, but its no ambient track, theres still that Chi-Town vibe. We finish with 'Frenetic Snare' whose Amen breaks will have Brits thinking of jungle, but it's a different beast altogether.

Adryiano with a solid versatile four track EP on Baka Gaijin.

E.D.C wishes to explore electronic music through different universes where spaces, noises and textures are central to the creative process. His researches aim to experiment and think outside the box, allowing us to navigate through purposely-colored music and other worlds where Every Detail Counts.

In this first release, the reverberations in each track create a shaking outcome that warns about the upcoming epic adventure with the wind of indestructibility that the tracks blow in our direction.

Endless is the key to understanding the whole release. Electric from the first second, it explains the journey we are about to embark on. Dark and almost gloomy from the beginning, the break gives the impression of a light breakthrough, as if the way suddenly clears.

The City of Clones takes us to a heavy atmosphere, as if we were waiting in the middle of a fog for the untying of the plot, though the denouement remains uncertain.

When Nobody Cares is an experimental journey through unexplored landscapes, with the discoveries marching under our eyes, which contribute to create an experience of fullness.

Too Many Ifs reminds and completes the cycle. Chaotic on purpose, it unveils the encounter of an intriguing living shape.

The following release on Sublunar Records is a debut EP from a young emerging talent: The Berlin based producer Nh.
"Nihil" is a selection of four heterogeneous tracks in terms of intensity and mood, each one being singular for different reasons but yet coherent by the round-around-the-edges production style, they have been executed in as well as their creator s personal imagery and unorthodox approach to the techno genre.
Warmth and empathy first appear as the driving forces behind Noro , until they vanish and let place to insanity and darkness, present and growing throughout Lothar . On the flip side the eponymous track shows a rave-like up-tempo beat being outweighed by the melancholy of its melodic elements. Finally, in Crimson , a quiet and unstoppable force push us out of the abyss until we reach the initial point again.

«Prelude» EP is the inceptive release of Oxmose, which marks the first entry in an ongoing catalogue, and the beginning of a journey with various artists. At its heart, the «Prelude» EP is a dialogue between two composers, a conversation that traces the line between abstract, electronic experimentalism and gliterring interpretive jazz. Parisian producer Shcaa takes control of Side A with 'Core', a near 20 minutes exploration into sound, which skirts the fringes of avant-garde minimalism and experimental rhythms. The song's acute cadence lays a dense and atmospheric foundation for the EP. - Side B sees Romanian artist Traian - Chereches offer-up an absorbing - counterpoint to Shcaa's opener on 'Cage'. The energy of Chereches' rebuttal fuses organic and interpretive sounds into a deft jazz reinterpretation, revealing a wide and surprising cinematic ambience. Mastered by Rashad Becker from Dubplates & Mastering Berlin, « Prelude » will be released on limited edition 12'', 180g heavyweight vinyl - with an outer sleeve featuring handmade artwork created by graphic designer Alice Voinea. The organic materials used in her work, emphasizing the interchange of the record, adding a further layer of continuity, one that streches between the artist, the music and the listener. - Written by Tom Fenwick

Industrial Techno powerfull EP. These four Non-stop 4/4 kickerz will destroy teh dancefloor for real !

Slow cooked meat, smooth cigarettes, hot baths, and fine wine." Jesse Bru knows best. A stunner of an EP written during the early days of his arrival in Berlin from Vancouver, Jesse debuts on Rhombus with two tracks of beautiful house music on wax

Feedback:

Luna City Express (Moon Harbour) - "nice ep!! like both tracks & will play" thanks;-) (norman)."
Black Loops (Toy Tonics) "yeah my man goes deeepppp."
Quarion (Tamed, Retreat) - "Great production!"
Desert Sound Colony (DSC) - "Liking Trixx!"
Shir Khan (Exploited) - "very deep and moody. like space jazz."
Mat.Joe (Mother) - "Dope!!!"
Digital FM - "Nice, EP! TNX DFM."
Laurent, Different (Radio F) - "2 nice tracks / The second is my Fav..SUPPORT!"
Kiss FM (Ukraine) - "Downloading for KISS FM, thanks!"
DANILO D'ANDREA - IFYOUWANT's Radio Show IT - "thanx."
Riyaz , DIVERSIONS (Radio CA) - "like the melodic rhythms and nuanced flows!"
Lars, Deeper Shades Of House (Radio USA) - "love "Space Jazz" atmosphere."
Ibiza Global Radio (Jose Maria Ramon) - "nice, will try it."

Violent sounds...

Savage Grounds released their first three records with Lux Rec... of which one of the members from this Swiss duo is the label boss... this new EP is the first release coming out elsewhere... Savage Grounds have created a sound of their own... a sort of post-techno which combines elements of techno, elektro, EBM, acid and industrial... but these tracks will for sure also appeal to lovers of analogue synth music... the whole EP sounds like it has been recorded in an one take synth jam... raw and fierce synth sounds for the body and soul...

House music is a global love thang. Viennese label secret crunch releases its fourth EP and his 2nd various artists sampler, which unites producers from all over the world.
On Side A Vienna based Sam Irl opens with a jazz infused bouncy groove. "Come back" shines with its exciting musical diversity and suspense. Tijuana born Soul Of Hex alias Sebastian Vorhaus delivers a subtle rave vibe that grows into an uplifting groove.
On the b side Moff & Tarkin impresses with a subtle steady builder based on a funky baseline, fueled with floaty space sounds. Italian Clang 83 finishes in style with a deeper than deep banger.

First Word Records are very proud to present an EP by Manchester's finest Hip Hop and Soul exports, Children of Zeus. This is 'The Story So Far...'

Konny Kon & Tyler Daley met back in 2005, after both performing a show near Paris in their respective crews, Broke'N'£nglish and Body Roq. The duo met up back home in Manchester, spurred on initially by a mutual admiration of each others music, and produced their first track together, aptly entitled 'Coming Home To You'.

A few years later, Tyler approached Konny about producing a full EP together. These sessions included the creation of a track called 'Still Standing', which ultimately saw the light of day last Summer on First Word. Still a highlight in their live sets, the Lenzman rub won "Best Remix" at the 2016 Drum & Bass Awards. The original has become somewhat of a British Soul anthem since its release, with people that missed it first time round still clamouring for it on wax. So we've included it on this EP.

As they've grown within the family of Manchester's music scene, they've provided a tonic to the city's bass-orientated club scene, breathing Soul back into the city, whilst maintaining their heritage of Hip Hop swagger. As an MC, Konny takes no prisoners, whilst Tyler (a prolific MC in his own right) has gained a rep as one of the UK's strongest Soul voices. Both artists have been blessed with the talent of beat-making. A combined craftsmanship upon the boards and in the booth.

From building a grassroots following of fans, they've since travelled the globe, sharing stages with giants and catching the ear of peers far and wide, from Pete Rock to Zed Bias. As well as hosting their own monthly radio show on NTS, they've collaborated with numerous Hip Hop acts, both sides of the Atlantic, as well as Soul royalty in the form of Caron Wheeler and Drum'n'Bass legends, such as Goldie (Tyler featuring heavily across his latest album).

Children of Zeus have finally begun the process of crafting together their debut album. This EP is a compilation of the creations the duo have produced themselves over the past decade, put together to appease their loyal followers thus far, and as an introduction to those yet to discover their talents. A snapshot of what has been, and a mere taster of what's to come. It features brand new tracks such as 'Smoke With Me' and (vinyl-only cut) 'Tonight', the anthemic 'Crown' (featured on First Word's 'Two Syllables' compilation previously) and fan favourites such as 'No Sunshine Tomorrow' and 'Push On'. A collection of raw, gritty, Hip Hop Soul music.

The debut album will drop in 2018.
This collection signals the end of the first chapter. A prologue even.
Get on board now. The time is right. This is the story so far...

Sumerian Fleet is a trio formed by Dutch producers Alden Tyrell and Mr Pauli, joined by Zarkoff after their 2010 debut EP. Their second EP came out in 2012 followed by their debut album 'Just Pressure' on Dark Entries in 2014. Sumerian Fleet have returned to release their sophomore LP 'Pendulum' of all new material as well as a remixed version of 'This Game Has No Name' from Zarkoff's other band, FFFC.

'Pendulum' contains 80's Dark Wave/EBM inspired tracks with an industrial tinge. The band cites inspiration from musical acts Fad Gadget, Front 242, Bauhaus and Sisters of Mercy. Literary references come from Poe's 'The Pit and the Pendulum', Pelevin's 'Generation P' and 'Life of Bugs', as well as classic Cyberpunk like Gibson's 'Sprawl' trilogy. Sumerian Fleet deliver 8 songs of vintage dark electro with a Gothic tinge and a touch of bass guitar. The album's been put together in a way that the listener can connect the dots, create a narrative, and become immersed in this attitude that the band's trying to convey, such as Vigny's idea of accepting despair: "A calm despair, without angry convulsions or reproaches directed at heaven, is the essence of wisdom."

All songs were initially recorded at Mr Pauli's studio in Den Haag, with overdubs and additional recordings at Zarkoff's Sensorium Studio in Croatia, and then final mix downs at Alden Tyrell's studio in Rotterdam. The album has been mixed by Alden Tyrell and mastered by George Horn at Fantasy Studios in Berkeley. Each LP is packaged in a copper foil stamped jacket designed by Eloise Leigh, with abstract squares in varied rhythmic repetitions to indicate motion, and included a double sided 10'x10' insert with lyrics and notes.

After a triumphant return to Batu's Timedance label with 'Intrigued By The Drum' Ploy keeps the pressure high on his new EP for Hemlock.

Unruly exposes further light on the workings of his now signature style. Waves of metallic percussion tessellate around a thumping central bassline. Pneumatic flashes of noise seal a dense atmosphere full of equal parts euphoria and dread.

Garys is Ploy's most stripped back and potent club tool yet, striding into 'proper techno' territory, equipped and optimised for the highest yield.

Lost Hours drops the beats and pumps out a thick fog of hazy chords and bellowing subs. Perfect for after hours listening.

Its Riot Gear number 2 and it's a party monster from the ever reliable Pete Herbert The EP is packed with Italo madness, house pianos, arpeggios and beats galore. Bottin & Yam Who provide the remixes. Venice based Bottin adds a classic Metro Area-esque feel, with new wave boogie touches, proto house beats and killer analogue synthesizers. Yam Who tears apart 'Expresso' with rough disco beats, a stripped down pulsating bass and brings in dreamy Rinder & Lewis keys over an authentic '70s disco production, fully optimised for all the late night dance floors.

Nach seinem im August 2016 erschienenen siebten Studioalbum "Partners" schließt Peter Broderick das Jahr 2016 mit der außergewöhnlichen EP "Grunewald" ab, die wie gewohnt via Erased Tapes veröffentlicht wird. Für alle die Hall mögen, ist "Grunewald" ein wahrgewordener Traum. Die fünf Tracks entstanden in nur einer Nacht in den majestätischen Räumen der etwas abgelegenen Berliner Grunewald-Kirche. Sie erkunden die faszinierende Partnerschaft zwischen der Raumakustik und Brodericks Solo-Darbietungen auf dem Klavier und der Violine. Während des Mischens der Aufnahmen wurde kein künstlicher Hall oder Delay benutzt, nur der natürliche Klang des epischen Kirchenraumes kommt zur Geltung. Die Größe des Kirchenraumes und dessen natürliche Interaktion mit den genutzten Instrumenten wiederspiegelnd, ist die "Grunewald"-EP zugleich auch eine Hommage an einen ungewöhnlichen Ort, der Zufluchtsstätte für eine ganze Generation zeitgenössischer Komponisten geworden ist. Tatsächlich war die Kirche zwischen 2008 und 2011 ein Hotspot für eine bestimmte Künstlergruppe um Nils Frahm.

Returning to Iceland to focus on fresh material, Kiasmos will release new EP 'Blurred' through Erased Tapes on October 6th.
Janus Rasmussen explains: "To write new material felt like a new beginning for us after two years of touring. The plan was to write something a tad darker than our previous stuff. Spring in Reykjavík had other plans though, as this turned out to be our brightest release to date." Remixes on the EP come from Bonobo and Stimming, each taking Kiasmos' music in fresh directions

he Copenhagen based pop wonders Blaue Blume return with a new EP - 'Sobs'. The band formed around 6 years ago in a provincial Danish town, drawn to each other's love for rich, playful music. Blaue Blume (blue flower) is the epitome of a romantic band, their songs are brimming with love and yearning. Now 'Sobs', the follow up to their 'Syzygy' album in 2015, continues to build their reputation as a best kept secret, about to find a whole new audience of devotees. All four tracks for the EP were recorded in late 2016 in a three story villa, formerly owned by a religious cult. The band used the weird space away from the city to create a framework for the lyrics and the music. The band explains: 'Blaue Blume has been our band for about 6 years. In a bigger provincial town we started playing right out of highschool. At the moment we live in Copenhagen and every day we play, write and work on sounds. It's sort of become a life project. In our heads we make music that is playful, rich in detail and popish or somewhat smiling. For some beautifully inexplicable reason we ended up doing music together. In a way it seems sacred or at least meaningful. Macabre is a happy song about being afraid of dying. Some of us find that even the best life can be lonely sometimes. We found it interesting to address this taboo within the frame of a song that people could potentially dance or sing along to.

CHIWAX welcomes Daniela La Luz! We've had already the honour to present this outstanding Lady on
RAWAX & HOUSEWAX. Now it's time for some Acid House on CHIWAX. Come Into My Land is a very
promising EP including 4 club tracks with the remarkeble touch of Daniela.

Limited white label of The Magic Ray's new single (formerly known as Electronicat) produced by Cosmo Vitelli. 12 release includes stellar remixes by Khidja (Hivern Discs, Malka Tuti, Emotional Response) & Simple Symmetry (Disco Halal). Dischi Autunno is a label run by Jennifer Cardini & Noura Labbani.

Today, we are glad to introduce you to our TONE SERIES Remix Series. One and a half years after the launch of the parent label, TONE SERIES has released five EPs (consisting of two tracks each), all composed by French musician David K. And almost halfway between the first release TS10 and the last one TS01 (TS06 came out at the beginning of September 2017), we thought it would be interesting to ask artists we like to reinterpret one of David's creations.

As a result, we're delighted to present you as 1st EP (TSRS01) of this TONE SERIES Remix Series: DIPE (TS09) re-drummed by French music composer and DJ Traumer as well as WINTER BELLS (TS06) remixed by Japanese artist Tomoki Tamura, both artists getting the ball rolling for this new soulful and colourful series.

Rick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.

Kicking off the first Black Traxx sampler is 'Climaxx', a stripped back, slow burning acid cut with more than a similarity to 'French Kiss' complete with ultra slowed down section in the middle. Far from a copycat, 'Climaxx' is it's own beast, a truly atmospheric track that tweaks in all the right places! 'Doctor's Housecall' is up next, a cut-up of Disco burner 'Doctor Love', a Chicago staple for sure. This is a brand new extended version of this jam, serious heat on this one, you all know the sample by now! Undoubtedly a nod to the legendary Ron Hardy and his mythical Muzic Box club, this one hits the spot.

On side-B we get a new version of 'Your Mind Is So Crazy' lifted off Volume III, this one's a pumping, breakbeat laced party starter. Vocal samples, synths and swinging drums all collide to form a real peak-time monster of a track, pure 90's style runnings! 'Retrospace' is the last track on sampler 1, it's a melding of Chicago House, breakbeat and bleeps. If you dig the sounds that emanated from Sheffield way back when, or the you're into the early hardcore sound pre-Jungle then this is the cut for you. Fast paced and funky, 'Retrospace' is a real hidden gem of a track, featured here in it's original form lifted from volume II.

This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!

Betino's Records proudly presents its third release: an EP by the very sharp collective The Big Hustle. The band founded in 2014 by bass player and composer Sébastien Levanneur, brings
together 70's old school funk with the hippest actual sound with influences spanning from Steely Dan to Snarky Puppy, from Mandrill to Lettuce and from Herbie Hancock (Manchild era) to Soulive.
With mighty horn players, a rock and funky rhythm section, and percussions added to it, The Big Hustle's music has a very large variety of sound landscapes. Still, the music never loses the groove and always stays close to the funk.
The A side opens with "Afrorever", a tribute to African culture and music. The guest of honor on this song is legendary Malian musician Cheick Tidiane Seck, longtime partner of Salif Keita, and collaborator of Joe Zawinul, Carlos Santana and Damon Albarn to name a few. After Cheick's introduction, the songs jumps into a typical afrobeat vibe featuring a tight and powerful horn section, suddenly breaks into an electro funk groove and ends in a furious percussive party.
Second track on the A side is "Faure is the Magic Number". It is dedicated to Thomas Faure (co-composer of the track) and François Faure (both featured on this song on tenor sax and keyboards respectively). This piece displays the band's ability to blend jazz-funk groove with a heavy hip-hop beat. Kind of DJ Premier meets Steely Dan.
The B side starts with "Afrorever (Sun's Up Mix)". Through this mix, one can acknowledge instantly Olivier Portal's touch. From the very first chords, he conveys us into his realm blending warm and melancholy keyboards with an old school deep-house rhythm pattern.
The fourth track is called 1, 2, 1, 2'. It is a purely improvised moment in the studio while the band was sound checking before recording with special guest rapper Raashan Ahmad. Nicolas Gueguen had the good idea to press the R button and what you hear is basically what happened afterwards.

Enjoy!

"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.

These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.

The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."

- Henry Rollins (excerpt from the liner notes)

'Macht Macht Zement'—what does it mean 80s drums, synths and vocals, almost without context. Fallbeil, two soon-to-be men (aka boys), finish tracks at the rate of butchers kneading meatballs. Due to laziness and a lack of technique, everything gets recorded on one track and immediately thrown into the frier. Nothing is planned. First up, school detention followed by rough LoFi rap.The album contains a wide variety of themes, from mailmen to warthogs, from latecomers to sensible conversation, every track is created out of spontaneity. Two very short tracks on this album date back to 1999, when the boys performed as 'Funky Granatos' in the local youth centers. Sadly, their performances weren't successful. Nobody wanted to listen to them and almost every concert ended in mass brawls. The track 'Postman' comes from the duo's side project Grand Malheur and was recorded in 2015 in Bronxfeld. More output from this project will appear on various EPs in the near future. The album title 'Macht Macht Zement' originates from Tom Pötgen. Tom always wanted to throw the sacred hand grenades. We hope he does that right now!

Ike Yard recombine their music looking across decades of post punk, electronic, soundtracks and come out with some of their best yet and enough to last the next 20-30 years (in Ike Yard´s very own words). Originally founded in 1979 New York City, members Michael Diekmann (keyboard, guitar, vocals), Kenneth Compton (programming drums, synths arrangements, bass, guitar, vocals) and Stuart Argabright (programming drums, synths arrangements, distortion bass, keyboards, metal perc) reformed the band once in 2007 and again in 2010. Each time different and with new ambitions. This time 'Sacred Machine' EP is defined by detailed drum layers supported by multiple basses and keyboards, some off-timing beat patterns that turn in a second of synchrony into a straight four on the floor kick and first time vocal collaborations.

Composition wise 'Sacred Machine' EP is recorded as a 'rehearsal'. As for Ike Yard songs would not be done so very many times in their existence, all threw in on each piece as they came into being. It sounds like a group that could have been doing records in Anthony Burgess and Stanley Kubrick´s 'A Clockwork Orange'. 'Night Klub' revisits Ike Yard´s original 'Night After Night' from 1981 EP. 'Sacred Machine' might be familiar to those who caught Ike Yard dates in Europe between 2007-2014 as one of the extended jams prepared for the dark ambient shows. 'Tear Drop' night airport music with sweet vocals by Camella Lobo of Tropic Of Cancer is followed by 'Spit' that explores Ike Yard NCR style with jittery beats, clomping, stomping cross cut beats. 'Slaves Of Janet' featuring Erica Belle brings to mind scenes in an S&M parlour with unused lyrics from the Factory America LP recordings.

We welcome back long-time First Word family, Souleance, with 'Bamboule', fresh from their respective cut-ups for our sister label, Excursions, and their recent 'Raw Funk' set, we have a 5-track EP containing something for all the family, crafted with love once again by France's Fulgeance & DJ Soulist. A truly eclectic collection, comprised of afro grooves, tropical vibes, b-boy rhymes, head-nodding shakers and intensely hype floor-fillers. A seriously fun selection.

It kicks off with 'Partay', a mid-tempo slice of bouncy tropical boogie that does exactly what it says on the tin. An effervescent synth-bassline rides on top of a delectable disco shuffle, complete with classic reggae chants.

Title track 'Bamboule' is a seriously energetic afro-funk beast. A truly infectious percussive rhythm track, laced with an immense bassline, vocal chops and synth rides, this one is 100% guaranteed to entice any dancefloor into a trance-like state of bugged-out body moves.

'That Guy' is some uptempo piano-rolling hip hop business, enlisting the help of Brooklyn MC, Von Pea, from the crew Tanya Morgan, who've been making noise on the independent hip hop scene for over a decade, as well as recently collaborating with GUTS.

We dip down to around the 85BPM mark for 'J'aime Marcher', a lounging boom bap bumper with sloppy drums, jazzy rhodes and vivacious horns.

Closing the EP is 'Brown Bags', an almost Dilla-esque cut-up, complete with rolling neck-breaking drums, sweet soul samples and stabs of prog rock. An abundance of variety, we think you'll agree.

For those that don't know, the Parisian duo hooked up just over a decade ago, and haven't stopped to rock & shock parties, clubs and festivals globally since, building a fan-base of solid party people and revered selectors along the way. As always, the wonderful Alice Dufay provides the artwork, making this an essential package for you and yours.

Up next on Arcing Seas is Magna Pia with his second EP after his 2016 debut 'Incantations' on Coun-terchange. Behind the alias is Hüseyin Evirgen, one half of Cassegrain. ARCS-05 has a clear focus of providing combative dance floor trips, unorthodox sonic moods with subtle 90s techno references. The EP's track titles 'Artemisia", 'Semiramis' and 'Akasha' pay tribute to three mighty ancient heroines of very different origins. Consequently, Magna Pia continues his in-terest in combining techno tracks with archaic symbolism.

Finnish legends and everything-but-grey eminences of electronic music, Jimi Tenor and Freestyle Man revive their dormant partnership on this four track EP for Studio Barnhus, jam-packed with classic drum machine funk, congenial synth lines and Jimi's unmistakable lead vocals and flute-playing. The Sleepover EP is fuelled by the two maestros' mutual love for New Jersey house music and pyjama parties, as well as musical wisdom gained from numerous collaborations in the past, ranging back to some fabled mid-90s Sähkö releases. Live show booking now! Artwork by Robin Ekemark.

In 2017, the musical term electronic' is nearly obsolete given the ubiquity of computerized processes in producing music. Even so, the prevailing assumption is that musicians working under this broad umbrella must be inspired by concepts equally as electrified as their equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this notion couldn't be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough EARS, chronicles four defining cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself, existing in an unwitting nirvana. Smith's music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track An Intention,' which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness here, but it's elevated by an undertone of gravity into something compelling and majestic that is fast becoming Smith's watermark. The emotional focus of side two is the vital but underreported moment in early youth when we cross the threshold into self awareness. The subject is profound enough to fill an entire album, but rarely makes its way into a single track, indicating Smith's ambition to broach subtler and deeper subjects than the average composer. This side offers up another highlight in the form of In The World But Not Of The World' which serves its subject well with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end pulse.

Side three emphasizes a feeling of being confirmed enough in one's own identity to begin giving back to the formative forces of one's upbringing, which is arguably the duty that all great artists
aim to fulfill. This side ends with the exploratory album cut Who I Am & Why I Am Where I Am' recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble
piece of sound design serves as a contrast to side four's verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a
return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best' this concept is voiced in the bittersweet refrain one day I'll wake up
and you won't be there' which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the
listener, and both interpretations are equally moving.
Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners,
and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar
gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here.

Alan Watts, another logical inspiration of Smith's, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. You're not there unless you're recorded,' Watts muses, if you shout, and it doesn't come back and echo, it didn't happen.' The Kid speaks to this idea directly. As Kaitlyn Aurelia
Smith explores her existence through music, she guides us in gleefully contemplating our own.

Following on from his intimate entry into the DJ-kicks mix series, Lone is putting out a vinyl only EP of all the unreleased tracks from it. The horizontal mix tapped into all of Lone's influences, from hip-hop to house, IDM to techno. It also showcased some producers signed to his own Magic Wire label, and of course the back bone was built from some of the Nottingham man's freshest new productions. They come after celebrated releases on Werk Discs, R&S and Dekmantel, and include dance floor aligned EPs and more rounded full lengths designed for close listening. Here he sits in between the two across three thrilling cuts. Opener 'Saturday Night' is a breezy bit of deep house with crisp boom-baps and swirling pads that lend it a dreamy, ethereal feel. Spoken word snippets are stitched into the groove and the whole thing is as frictionless and feel good as house comes. Next up, 'Arc' is a little more direct, with scattered snares flapping over dry wooden kicks. It's a punchy bit of house latest DJ-kicks mix star Kerri Chandler would be proud, and comes overlaid with spring time flutes and luscious pads as a classically inclined bassline powers things along. Last but not least is 'Alpha Wheel 4' (Ambient Mix), a kaleidoscopic passage of suspensory sound scuffed up glassy surfaces trapping you in rays of refracted light from start to finish. All three tracks exhibit Lone's authentic, lived in and lo-fi aesthetic, and as a result slip perfectly into his ever more essential discography.

Alien Jams presents a new release by Wilted Woman called Home Listener. After releasing the amazing "Diary of a Woman" on She Rocks! earlier this year, WW is back with this sublime 5 track EP. From the onset, playful synth patterns mingle and coalesce, spiralling towards dizzy culminations. At times wobbly and disjointed, WW creates stunning compositions that would work magic on the dancefloor. Each track of Home Listener feels like its own paranormal entity, living organisms that develop and grow as the music unfolds.

For the fourth release on 6dimensions, Steve Bicknell has delved into the catalogue of the Lost Recordings series on his previous imprint; Cosmic.Steve Bicknell's Awakening The Past feature three tracks from Why And For Whom, the first of Bicknell's Lost Recordings releases. Originally released in 1996, Why And For Whom Has been named one of the best UK Techno records of all time with Bicknell being billed as a 'criminally underrated producer'.With the re-release of these tracks in 2017, it is clear to see that the tracks have stood the test of time. All four-tracks on Awakening The Past were previously untitled but have been renamed with a focus on the human condition. With the 6dimensions label being founded on the principles of the 'human mind's natural make-up' it seems a natural decision to rename the tracks to suite the label ethos. Although one quarter of Awakening The Past was released 20 years ago, Bicknell's focus on mood shows coherence between his work then and now. The era of production can be distinguished in the EP, however, this is only eminent through a difference in recording technique. More importantly, the mood of older and newer productions are indistinguishable from each other and display Bicknell's unrelenting dedication to his own focus on concept of aesthetic. Physical Life' opens the EP with a rawness that is carried through the EP. With tape hiss underpinning the track, Bicknell's signature bass grumbles hold together hi-hats which progressively filter in and out over the course of the track. Bicknell's use of filters carries through onto the second track of EP, 'Natural Vibrations' boasts an erratic and high-pitched 303 sequence that shows a bit of experimentalism before the EP steps back into Bicknell's more familiar techno odysseys. 'Fearing The Minds Fears' paints a tense atmosphere, lashings of motoric modular synth are added with little fuss as the track title confirms its significance. Finally, 'Conscious Awakening' drives the EP to a close with dizzying pace: it's here that Bicknell's ability to control the emotion of the listener is really evident.

Optimo Music is delighted to continue its fruitful relationship with The Golden Filter with the release of this fantastic 4-track 12' EP.
We always prefer our artists to speak for themselves and avoid bullshit PR hype so here is what they have to say about this EP -
We're quite agnostic, and unreligious, but if there is any vibes associated with the EP (and maybe all of our music) it is very Buddhist in its ideas. Mindful. Aware of impermanence.
The whole EP is about being with the one(s) you love when everything else around you breaks down. Looking inward, with pure love, in the hope to radiate outward, rather than pushing for a fight, or running away. Recorded, written, and produced in isolation by Stephen and Penelope on our own in East London Studio space.
The EP starts with the song 'End Of Times' which is a dramatic, Shangri-Las influenced take on feeling powerless in a chaotic world, but still high on love. Happiness can be found in analog reverb. This is followed by 'Serenity', a hard and tranquil meditation of past + future.
Side 2 leads with 'Heart Control', with a slight nod to Pink Floyd. A nine minute plea to ourselves to keep it all focused and under control... The EP closes with 'Darkness Falls'. The lyrics for this came from an apocalyptic dream that Penelope had, and wrote down in the morning. the music is 100% purely modular, er, except for the tiny bits of guitar at the end.

Optimo Trax presents a 4-track EP from Germany's Mathias Schober, head honcho of Berlin's Lossless label. As always we prefer to let our artists do the talking. Here's what Mathias has to say about this release -
The idea behind all tracks on the EP was a simple setup of drums and one synth that would do a main sequence/sound, yet there's a lot of detail in all of them. 'In A Certain Way' features a 808ish beat with a main sequence coming from a tiny monophon synth called Atmegatron - 8Bit love, it turned out being much more music than I thought it would be when I set everything up.
'But What Rules Are Made For' is the same setup but the sequence is a 101 and so are all the washed out fx synths. On 'Is To Break Them' I went a different route, I had the dub, delayed stabs synth first as I was messin' with my Moog and a Space Echo - which btw is used on every single track I release, if you haven't noticed yet.
So I was trying to build something around those stabs in order to fit the track to the others and so I ended up with another sequence coming from my Moog. As there was still space on the record, I decided to add an ambient version of 'Is To Break Them', I love the ambience on this track. I hope that my love for dub sounds is obvious enough on these tracks. Happy I found such an excellent home for the EP!

Sebastian Eduardo burst onto the scene in 2016 with a fine debut EP entitled 'Ultima Necat', now comes his second EP, this time released in The Untold Stories Protagonist Series. Dedicated to the legendary poet Hanshan, the EP is a deep and personal offering, it keeps to the style which made his debut so appreciated: positively charged, quirky and enlivening micro house, but this time there's a deeper personal dimension to the tracks, a nice development and another welcome offering from the young Swiss producer.

Following on from the impressive opening statement from Modern Manners, the second installment from the hitherto unknown outfit sees the sonic remit reaching out to other influences while retaining that poised lounge attitude that made the first record so instantly endearing. "Research" is a dub track in essence, sporting ample space in the mix, the odd conga roll and sparse chords calling out into a field of reverb and delay. "Can Maneras" is a more shuffling kind of smooth jazz that aligns with the classy licks of St Germain and the like. "Serate Cosmiche" finishes the EP off on a melancholic tip that puts the synths at the front of the mix for the first time.

Banging Acid Music from a master of the genre... First full EP from this talentuous Italian producer, with a very aerian acid melo style, and a hard kicks... With this strange feeling that it's a mix, natural live set sound !

Listening to Unknown Path's Pathfinder for the first time is a claustrophobic experience. It's as if the tracks had been recorded to tape and left to decompose for 10 or so years, then dug up and re-recorded. A thick layer of grunge and an overall murky feel sets the tone for Path 0.1 and continues throughout the EP. Paths 0.2 and 0.3 add a more upbeat feel to proceedings, as the beats get scattered around like they were in a pinball machine. Path 0.4 finishes off the experience by bringing the tempo back down, while all the time keeping the uneasy atmospherics that make this EP a unique and rewarding listen.

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.

47013 sees the first solo EP from the label head himself, Tommy Four Seven.

After releasing 8 dance-floor focused cuts across 47's VA series, 47013 follows three well received solo EPs from Killawatt, VSK and Headless Horseman. This record sees Tommy present perhaps his most diverse and resolute release yet, exploring merciless low frequencies and sound design across 4 diverse tracks, as always offering his forward vision of techno.

Mint Condition - A reissue label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Hot on the heels of his 'Relief Sevensixty' EP we are pleased to announce the latest instalment of Jaime Read cuts from the vaults. The 'Target This MF' EP is another collection of golden-era jams from Read's envious archive. Steeped in history, these infamous tracks are now seeing the light of day again. You only have to have a quick online search to read the fascinating story of the journey of this music and then maybe this EP title will make sense! Kicking off with the serious Detroit leanings of 'P.E.G.' you get a real taste of what's in store, frantic claps and detuned synth swells combine to create a pacey and essential slice of futurist Techno. A2 'Sux' is another epic piece of space electronics, tough drum machine programming and swirling sounds give the track an epic feel, mildly disorientating in the best possible way it's hard to believe this music originates from the South coast of the UK! B1 'Rein (Pt.1)' is mining a deeper, House infused sound. A sublime groove that tips it's hat to the masters with a serious bassline that just won't stop. Funky machine music of the highest order. The EP finishes with the absolute killer 'Peeano', a jam that flips Jazz on it's head in zero gravity, incessant piano lines drive us deep into the speaker stacks and it feels great. The whole EP is a total trip. Essential music from an unheralded UK legend.
The 'Target This MF' EP has been legitimately released with the full involvement of Jaime Read for 2017 and remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at Mint Condition!

The new EP by rRoxymore signals another audacious step forward for one of the most daring artists in the electronic music diaspora. 'Thoughts Of An Introvert Part 1' is born out of introspection, out of the necessity to disconnect from the frenzy of crowds and to create a soundtrack to an inner landscape which exists beyond the reach of government and dogma. In the words of the artist, "it is a sonic diary of sorts, cataloguing the events of a world which has not yet been invented, in the form of three mesmerizing dance tracks free of nostalgia and the expectations of style."

The spatial afro futurist funk of 'Prodrome' finds rRoxymore balancing darkness and optimism as only she can. The title track, 'Thoughts Of An Introvert' is instantly familiar and carries a soothing utopian spirit, so needed today. Mycetozoa, the closing track is bouncing, drum driven and mad, a celebration of rRoxymore's complex musical mind, offset by irresistibly banging toms and rolling rimshot patterns. It is a track which is at once melancholic, happy, vulnerable, and full of hope. Everything seems possible on the dancefloor this music was written for.

Cryosleep is the debut album from Null + Void, the alias of prolific New York producer Kurt Uenala. It's an album of contrasts and tension, where darkness is pierced by blinding light, and where moody new wave bleeds into stark electronics. In one moment, joyful memories give way to isolation and regret, and in the next, Cryosleep explores the catharsis of crowded dancefloors. Throughout the record, Uenala matches his dynamic production with incredible vocalists-from Depeche Mode's Dave Gahan and the inimitable Shannon Funchess, to Black Rebel Motorcycle Club and The Big Pink. Null + Void's take on dark pop meshes with his love for Detroit electro, poignant synth melodies, and cold atmospheres. With the cinematic opener 'Falling Down' and brooding instrumentals like 'Come To Me", Cryosleep can feel like the soundtrack to a lost space epic. No doubt, the album evokes Blade Runner, dystopian landscapes, and the splendor of far-off galaxies. As Uenala puts it, Cryosleep is inspired by 'classic sci-fi stuff,' images of futuristic machines sustaining humans frozen in a dreamstate. The melancholy 'Foreverness' explores what they might be thinking: 'A collection of fragments, memories of a life lived-preserved, but incomplete and jumbled.' Meanwhile, 'Into The Void' paints a peaceful, otherworldly picture, 'like soaring towards a white light.'

"Veil Of Flames" is the second solo EP by label head Kastil in 2017 after the successful " The Sadistic Abbess" earlier this year.

Threading through the corn fields, wearing nothing but a cotton scarf, her body is like an abstract painting. He who beholds her with unpure sentiments, sees not what she is made of.

Her fierce complexion radiates briefly before she speeds up her motions. Out of breath she arrives at the altar of affection. She won't sacrifice her decency for a
chance to be with god.

DJ Future is back on 117 with a journey into his dreamworld
of breakbeat mayhem.

Terence Fixmer reached worldwide recognition with the release of his debut album Muscle Machine on DJ Hell's seminal International Deejay Gigolos imprint in 1999. The album opened a whole new genre by combining Electro, Industrial, EBM and Techno into a more dance floor-focused EBM style, simply called 'Techno Body Music'. The French producer and live act has consistently explored and redefined the boundaries of modern Techno -and he is not slowing down. Dance Of The Comets is the second release on the newly relaunched NovaMutelabel. NovaMuteis the seminal techno label that has been home to Plastikman, Speedy J, Juan Atkins, Luke Slater, Joey Beltramand more. NovaMute, born again, recently released Cognitive Resonance by Nicolas Bougaïeffand will release the forthcoming EP by Charlotte De Witte. Terence Fixmer'ssound deftly avoids repetition by developing soundscapes which maintain musical depth and integrity. He above all preserves an original style, an increasingly experimental, simultaneously ruthless and instantly recognizable aesthetic.

'Girlfriends and other machines' is another distinctive work by mostly undiscovered berlin based artist rhytch displaying his unique dirty and soulful sound. The 6 track EP varies from edgy deep house to weirdo krautrock reminding one of the genreroots, while sounding like a legit fresh reinterpretation. The artists voice being revealed on most of the tracks is giving the listener a glimpse of who he is and adds some character traits to infamous rhytch. The EP gets completed by an outstanding Marbod Remix, which is going to make people snap with its flickering distorted 909 hats woven into one of his typical psychedelic housepads creating an irresistible groove and atmosphere. The EP being released on berlin underground imprint lofile records is a nice prospect of what is to expect of further releases and obviously a wise choice for label and artist which share the same hobbies - drinking and smoking.

The newest 12 on Voodoo Down Records marks the debut appearance of longtime friend of the label Jordan Lieb a.k.a. Black Light Smoke. Jordan played an instrumental part in the NYC label Scissor & Thread, and has spent recent years honing his live set in front of crowds ranging from BPM, Robot Heart, and fabric. The Depression Sleeping EP is a collection of tracks from his archives from the past decade that have been updated and remixed. The theme of the record is his struggle with sleep and insomnia. Per the artist:'Releasing these songs form my past reflects my effort to embrace myself, the good and the bad, and to channel my personal battles into a creative process.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivaled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12" release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones,'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan s vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'dod' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Marco Bailey's 5th full-length album, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show.

By maintaining a consistently high-quality output that does not merely ride the wave of current trends, multi-faceted producer Marco Bailey has managed to survive through decades of mercilessly shifting adjustments to popular taste in dance music. From his beginnings in the late '80s spinning eclectic sets comprised of everything from punk to old school hip-hop, to his present interest in pure unadulterated techno, the Belgium-based DJ and producer has won over audiences with his keen knowledge of how to squeeze the greatest physical and emotional impact out of a few well-placed elements, along with his instinct for seeking out the most innovative and resilient kindred spirits (his impressive number of professional friendships includes artists as diverse as Markus Suckut, Jonas Kopp, Alex Bau, Edit Select, Speedy J, Steve Rachmad and many more). These combined talents have led to his formation of several different labels: MB Electronics in 2001, the 'limited edition' label MBR in 2013, and lastly the new Materia Music label begun last year. His similiarly named event series, Materia, has also been a truly worldwide 'state of the art' summit for advanced techno artists.



The full-length personal releases by Marco Bailey, which stretch back to his mid-'90s period as a trance producer, have been gracefully arcing and anthemic affairs composed of individual tracks that follow that same blueprint. He is now about to drop his 5th full-length album overall, one that he personally claims to be the best overall representation of his sound. With seventeen tracks comprising almost an hour and a half of music, he has ample room to stretch out and to give listeners an excellent portable version of his potent live show. Of course, an epic running time alone is not the marker of a great audio experience, but an epic running time in which one loses track of time completely is - Bailey accomplishes this feat by never rushing the payoff; by organically building up each track until listeners are fully immersed in his alternate universe.



This skill can be heard on banging, sweat-saturated tracks like 'Ash', 'Genetix' and 'Hasai,' but also on comparitively gentle pieces like 'Klauth' (which straddles the line between disciplined electro and something more dreamlike and weightless), or the blissed out 'Suoh,' which feels like a fresh snowfall in audio form. Low-key cuts like 'Rex,' driven by echo FX and other windswept sounds, form natural counterparts to busier tracks like 'Ruth,' with its spring-loaded sequencer attacks, or 'Reboot That Device,' which is ingeniously driven by a psychedelic organ whose sound evolves with various filter settings. Minimalist vocals are occasionally injected into the mix - i.e. on the 'The Darkness' - to impart a subtle message of constant, ongoing expansion into unexplored galaxies without and within. It's as good a definition of the artist's musical mission as any.

From the twilight zone of Rhythm Section International comes a new label for 2017: INTERNATIONAL BLACK. This is the offshoot's 3rd release this year and the machine shows no signs of slowing down. Bradley Zero's ear for new talent continues to pay off as we are introduced to yet another young pair of producers, Mallard & LT, going by the name of 'J DEEP'. Mallard, a 19 yo Jazz student who made a big splash with his debut RS INTL EP, 'Verte', returns with a track aimed more squarely at the dancefloor. Although hypnotic and ethereal, it packs a punch, with the arrangement and musicality belying Mallard's
musical training at Trinity College.
On the flip side, Mallard joins forces with another promising producer who goes by the name 'LT' in their collaborational partnership known as J.Deep. Complex jazz chords swim around 909's to create an elevating techno roller that climbs and climbs only to give way to sparse rave stabs and ecstatic snare patterns.
Tried and tested for the best part of a year, these are 2 serious jams, proven to cause dancefloor frenzy.

The soundtrack for this epic western movie featuring the great Lee Van Cleef bears the signature of Ennio Morricone: Guitars, flute, piano, timpani, drums and a Native-American choir style make this motion picture a kind of original masterpiece in the maestro's oeuvre. I Cantori Moderni di Alessandroni perform here in their own unique way with Alessandro Alessandroni on evidence with his original whistling. The main musical theme was employed by Quentin Tarantino in Kill Bill vol.1 and in Inglourious Bastards!

- FIRST TIME COMPLETE EDITION ON DOUBLE VINYL LIMITED EDITION OF 500 COPIES ON COLORED VINYL
- CONTAINS INSERT WITH TRACKLIST AND ORIGINAL MOVIE PHOTOS

The 10 year anniversary EP. Featuring tracks that never been vinylized from Addict CD 02 and tunes from Addict 03, 04 and Distrot 03. Welcome to the old school sound from Dan Doormouse : Psychedelic Hardcore bombing feva'... A kicking 4 trackers we got there ! Tunes repressed from Distrort 03, Addict 03 and 04.

Berlin native Florian Kruse has been a key part of the underground house and tech house scene for years now, and his productions have rightfully been bringing him plaudits for their emotional maturity. Finding a kindred spirit in German vocalist Hendrik Burkhard, as TheGround the pair have crafted a killer new album - 'Dediction', including these four exceptional tracks that will appear on the vinyl edition 'Dediction EP'. 'Homeless Hearts' exemplifies the duo's effect on each other - the slick, nuanced and spacy production gives way to a powerful groove, providing the perfect backing for Burkhard's dreamy vocal. 'Undercover' is a clear dance-floor killer, with Kruse's exceptional flair for programming meeting Burkhard's understated delivery. Co-written by Raphael Hofmann 'Silence' explores some melancholic terrain before finding its way back to the floor via Kruse's & Burkhard's lush production. The EP is concluded with 'Creature' - featuring a thick growling bass and precise, arpeggiated synth lines that cut through the mix like lasers.

Two years after his last outing on Get Physical, Roland Leesker returns to the label of which he is Managing Director with a brilliant new track that comes with a remix from Cardopusher. Leesker has only put out a select few releases over the last 15 years-both solo and as DJ Carrera and R&R with none other than Ricardo Villalobos-but he has a truly fully formed sound. This tune has been doing serious damage in the clubs for a while now and makes you wonder why Leesker doesn't release more! Entitled 'Thunderstorm' it is seven minutes plus of moody and dramatic tech with heavy synth clouds, whining machines and turbulent drums all whipping up a storm. Manic keys and heavy chords come in and out as fizzing textures all make it a real synapse firing affair that is designed to arrest the attention of huge crowds, and it sure will do that. Venezuelan born Cardopusher has a diverse and experimental sound that takes him from techno to electro to acid to rave to house on labels like Super Rhythm Trax, Zone and BNR. Here he masterfully cooks up another frenzied track with spraying acid, heavy, marching and industrial drums and a real sense of rave energy that will dazzle as much as delight in any set. Finally, Leesker offers up his own 'Dschinn mix' providing even more raw energy. Angry drum rolls, stomping kicks and huge hi hats all piled up and force you onto action. It's a superbly metallic, in your face track to wake up a crowd in the late night hours. With this EP, Get Physical's sensational 2017 keeps on getting better.

Muzik & Friendz purple patch continues, literally, with a purple screen printed vinyl release from Belgian duo Le Babar & Pat Lezizmo 'Last Call' featuring Anano delivers two impressive originals coupled with a heavyweight international remix package making this the 7th outing for the Belgianbased label.
'Last Call' the original mix brings together tight classic house grooves a killer bumping bass line and the sexy vocals of Anano into a house track with real crossover potential. Denmark based Alvaro Hylander's mix goes deep, balearic and full of filtered rhodes, lush percussion with a tribal edge and breaks highlighting the sweet vocals, a perfect bar grooves shoulder shaker.
London based Frenchman Giom plays the ace card in the package with a foot stomping remix full of his own signature drum workout and ability to weave melodies and filtered breaks into a
package that has seen him release on the likes of Defected, Bunny Tiger, Toolroom and top the charts with his own label Supremus. Already tried and tested on his last US & Canada festival tour we fully expect many outings at the closing parties and festivals later this year.
Closing off the EP nicely the piano led 'Move Me' brings an upbeat and old school vibe full of stabs, vocal chops and a lush sax infused break perfect for sunsets and warm ups to boot.
Designed with the music collector in mind the limited vinyl release will be available packaged in hand made sleeves made from recycled materials.

After a string of solo eps Modularz returns with a wave of various artists releases pushing established and emerging producers laying down strong tracks made for the warehouse or the club. These releases are really getting the pick of the litter when it comes to techno. play these loud and often.

Berlin based producer ''Synthek'' is a renowned name within contemporary Techno. Besides succesfully running his label Natch Records, he has been also a resident at the infamous Tresor.

For the seventeenth installment in the string of Attic Music releases, Synthek (Luca Landolfi) comes up with a staggering EP that contains a lot of adventurous drum patterns, bold arrangements and swells of daring FX.

On the A side we find ''Loser'', which is a brave cut of spherical yet moody techno that uses a buldging percussion line and otherwordly fx to create an ominous vibe. ''Uneven Mind'' is an exotic cut with tough drum sounds that uses a hypnotic synth swell that cuts throughout to create an alarming atmosphere. French producer and Concrete resident Antigone comes up with an uplifting (eight minutes long) remix for ''Uneven Mind'' on the B side which is beautifully orchastrated throughout.
''Faithless''is a percussive cut with intense FX blips.

As a contrasting follow-up to our first single from Rooteo &
Mahura's Metta album, the second single on Made In Green
Records keeps the format intact with entirely different results. Deadbeat's remix on part one was both respectful and subtly transformative; on part two, New York's upcoming Max McFerren, whose busy 2015 included EPs on Ultimate Hits, Allergy Season, and 1080p, brings us a startling reinterpretation of album closer 'Harmal' very much in keeping with the vein of raw, aggressive house coming from Brooklyn since that scene's resurgence. The original version of 'Harmal' finishes the album in fine style, blending tablas, celestial electronics, and short melodica phrases that gradually swell with layers of vocal samples and orchestal pads before reaching a climax and slowly dying away in gradually receding layers of ambient electronics. McFerren's remix leads off with only a bare framework of techno percussion. The entry of a sampled section of melody from the original signals a rapid transition to more abrasive territory, with sheets of metallic noise slashing through the high end, short vocal syllables stuttering, and an insistent bass pulse building up and breaking down with at least one element constantly in motion.

The return of Timothy J Fairplay sees tracks from his 2 EPs on Emotional Response remixed on one special release. Four favourite producers chosen to bring new dimensions to his brooding, shuffling electronics, featuring Scientific Dreamz Of U, Alessandro Parisi, Perseus Trax and Antenna.Part of the label since inception, the last five years have seen TJF's career explode with releases on Bird Scarer, Charlois and Hoga Nord, setting up the Crimes Of The Future label with Scott Fraser and releasing an album alongside Andrew Weatherall as The Asphodells. His EPs for Emotional Response saw some of his strongest, deep and dubbed out productions that marked their own terrain and these reworks have been a long term project. Starting with a trance inducing breaks-dub of Stories of Prison from Scientic Dreamz Of U and you understand why this mysterious producer has become a cult in his own dreamtime, as subs bump this vortexed revision to its own portal.
Next Alessandro Parisi implants his cyber-electro-harmonies to Aim For The Yellow Sector. Fairplay's late night drive-by is respectfully given a future-retro mix, gliding away from East London's dank streets to mysterious plains and beyond. Things take an analogue twist for the flip with Perseus Traxx showing his love for Chi town on his remix of Saco Bay. A bumpin' bass sets the motion, mixing the swirling original to basement vibes x 10. Win win win.
Kindred spirit and fellow Pinkman/Charlois member Antenna closes the EP with a deep retake of Night Ferry. After causing a stir with the killer Odessa EP and subsequent releases on Royal Oak and Beats In Space, a remix was a given. A mellow groove and optimistic keys is the perfect way to end this chapter of Timothy's music and await for new adventures.

"French Londoner, producer, live performer and troubadour, Remi Mazet marks the end of the summer with a release that was well worth waiting for. Eccentric, particular, specific and always surprising.

From the laid back ethereal and atmospheric scene-setting intro, through upbeat dance floor cuts, percussive workouts and back again, everything about this collection says depth, groove and flow. Sax, keys and sublime samples nestle among, beats, breaks and 4/4 rhythms to create a sonic excursion where nothing is hurried and every track is distinct yet cohesive.

Following on from releases on Colors and Love Fever Recordings, Safran (SJ002) is a continuation of his ongoing explorations. The EP is a perfect extension of his early work, a contagious evolution and transformation in a more personal way."

On this new EP, DJJ's trademark jagged take on filtered French house is still present, but with Chicago bump, techno and more random elements thrown in for good measure.I Keep Trying To Convince Myself is the tougher, more rugged and even funkier cousin to DJJ's hotly-hyped 2016 summer anthem just a lil. Chi house meets soca in this carnivalesque new classic, which hits the perfect spot between sweetness and dirt.Yn Y Ty is fast, jerky funk and almost a new genre in itself. Both melancholy and pumping, think DJ Rush meets the Tetris theme in an oddball, groovy-as-hell work of genius.The cut-up, loopy loops and tough, tribal beats on Apilli are deranged in a good way and - as with the rest of the EP - demonstrate a quirkiness and subtle humour akin to Basement Jaxx's early golden period.A big sample drives the jacking, sweaty, glitz of Upsqwar's warped take on handbag, which channels the spirit of Modjo and features a ponderous, almost chiptune melody drifting subtly over the top.The EP closes with the Greek flavoured stomper Glas, which wouldn't sound out of place on Richie Hawtin's 1999 mix album Decks, EFX & 909. This new EP is first release since jus a lil for Crazylegs, which gained high praise from NPR, Resident Advisor, Indie Shuffle, Mixmag, Dummy, Hyponik and FACT - who commissioned a video and coined the tongue-in-cheek genre name 'outsider Ibiza'. Comparisons have been made to Thomas Bangalter, Alan Braxe, Todd Edwards and David Morales - albeit a skewed reinterpretation. Like the punks' assimilation of rock and roll, DJJ's fresh and irreverent take on highlights from dance music history make for some of the most exciting sounds since Daft Punk's first forays.Although distorted and with lowered bit-rates, to call theses tracks 'low fi' is to do them a disservice, as DJJ's manipulation of frequencies, distortion and samples is deceptively simple yet not easily matched. There's a mastery of sonics and leftfield sensibility at play, akin to fellow EQ tweakers Heiroglyphic Being, Aphex Twin and Adrian Sherwood.DJJ is a member of the Bristol-based label/collective Crazylegs, alongside artists including Gage, Sudanim, Finn (all of whom remixed just a lil). He's also one half of ISLAND, whose grime-flavoured Nokia EP was release in 2015 - also on Crazylegs.

Aula Magna Records presents Atmen by Mekas, a storming record that reveals the artist's latest techno explorations in
full effect, featuring Stockholm LTD label boss P r Grindvik as guest remixer. A techno statement shaped by melodic
and rhythmic interactions that draw the listener into the artist's profound sound world.
The A-side opens with the powerful beat of Clark Nova, a cut that moves forward with a modulating synth line and simple
but cleverly designed percussions. This is followed by Unknown Soldier, an intense techno weapon that reflects the
distinctive sound of Mekas.
The B-side features both versions of Atmen, starting off with P r Grindivik's dance-floor rework of the title track that
combines a fresh arpeggiated motif and a powerful groove with the emotional spirit of the original. Atmen closes the
record, an epic ambient techno track built with deep atmospheric synth lines on an intelligent stripped down breakbeat.

EP from Hkkptr with reinterpretations by Modvs pressed on 180g/ 12" in a ltd edition of 300 copies on Modular Mind. These creations embrace an industrial landscape with a consistent percussive drive throughout side A & B.

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.

We are pleased to welcome back two old friends: Dmitry Distant and Igors Vorobjovs! Remember the amazing track these pros teamed up on for In
The Dark Again 05 Now they've come up with a whole EP, featuring 3 tracks each. You'll find Igors delivers some intergalactic Electro, and Dmitry lets the melancholy of a gloomy Wave sound rise.

Wonderwheel is happy to welcome in Montreal based producer & don dada Poirier for his first release on the label, the "Be Alright" EP. Moving away from the traditional dancehall, dub and soca sounds he's become known for, Poirier delivers a 4 track of Afro-House influenced dancefloor firestarters. "Sowia" heads to South East Africa with it's floating guitar hooks, big bassline, and vocals in Portugese from Canadian-Moçambican singer Samito. "Ginobili" goes into deeper territory with four to the floor drums, heavily chopped percussion, and a hypnotizing distorted Mbira line, while "Camera" continues the tropical vibe with a nod to Semba with it's driving guitar lines, staccato synth lines and thumping drums. "Antilles Trax" rounds it out as the extended instrumental version of "Sowia".

After his successful EP on Memoria back in 2013 and his collaboration with Andi as Disuasiv last year, the Romanian artist Dragosh is back on the Dutch imprint! Three amazingly musical tracks. 180 Grams heavy quality!

The third instalment of our Versus series see's the return of two previously featured artists plus some super fresh blood. Croydon's king of darkness Paragon comes with
more seriously dark vibes with 'Dominions'. Acid Lab makes his second Versus appearance with the beautiful
'Can't Run'. The don of Haunted Science Amsterdam
chapter Transient bring some dark techno atmosphere's with his epic 'Scripture' and label owner Soul Intent finishes the Volume Three off with a straight up dancefloor roller called 'Bite It'.

Black Truffle is thrilled to announce the first ever vinyl reissue of legendary performance and sound artist John Duncan's forgotten gem Klaar, originally released by Extreme in 1991 and partly created in collaboration with Andrew McKenzie (The Hafler Trio). Duncan is perhaps most well known for his notorious early performances pieces, which explored violence, self-denial, and the establishment of extreme psychological and physical states in both artist and audience. Alongside these transgressive experiments, Duncan began to create audio works primarily using short wave radio. Where some of Duncan's earlier recordings are composed of magnificently sculpted but abrasive walls of noise, Klaar, recorded while Duncan was living in Amsterdam, occupies a more meditative territory.
Opening with 'Delta', which layers long tones seemingly sourced from slowed down voices over a distant, watery field recording, the remainder of the first side is occupied with the epic title piece, which arranges shortwave radio abstraction, vocal experiments, and field recordings (street sounds, fireworks, monastic chants) into an episodic cinema for the ear. The second side is dominated by the long, brooding 'The Immense Room', where layers of shortwave interference and field recordings are gradually built up into a pulsing, wavering bed of sound infused with a subtly disturbing sense of psychological unrest. This rises to the surface near the end of the piece as sexual moans and ominous rumbles crisscross the stereo image before being abruptly brought to a halt.
A singular work of electroacoustic composition, Klaar is both compositionally sophisticated and infused with a sense of mystery and a vital reality often lacking in more academic experimental music; it sits proudly alongside contemporaneous recordings by Duncan's friends and collaborators Jim O'Rourke and Christoph Heemann and is a must for anyone interested in their work.
- Francis Plagne