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lets talk about music now :
Crazy meet up between 2 monsters !
Atomic Compressor, the GTI number one composer who did the best of KSI records, and more recently a brilliant Komum brings a full side of his best recent tunes : Speed pityless kickerz bringing "le Père Noël Est une Ordure" special Thérèse édition !
On the flip you'll get Leatherface, newcomer from Cellul R production, with 2 Industrial psychedelic rolling kickerz : the first one is a C.Mantle hit combo, light kick mentalism ; and the second a powerfull Brotherhood lesson.

Presented together for the first time, American composer John McGuire’s Pulse Music series (1975-1979) blurs the popular narrative that Minimalism was a reaction against Europe’s angular, intellectual, inscrutable high-modernism. McGuire, born in California, studied at Occidental College in Los Angeles and UC Berkeley before going to Europe to study with Karlheinz Stockhausen, Krzysztof Penderecki, and Gottfried Michael Koenig. His compositions lock serialism’s warped geometries onto an evenly spaced grid, perfectly preserving serial music’s multi-dimensionality while smoothing its wildest disjunctures and sharpest angles. If serialism is Montreal’s Habitat 67 modular housing complex, McGuire’s Pulse Music compositions are the primary-colored grids of Le Corbusier’s L’Habitation apartment complex — an exuberant expression of the same materials and principles.

Every layer of pulses is made distinct through its timbre, register, and tempo. We hear them as a plurality, organized like stars in the sky. Every so often the sky rotates and the stars appear in a different arrangement. Our ear naturally starts to draw connections and, as it sweeps between one layer and another, what was discrete becomes continuous. Pulses become flows; quantitative reality becomes qualitative experience.

Nearly 10 years on since his last solo LP, Berlin techno icon Marcel Dettmann arrives on Dekmantel with an expansive album captured in a flash of inspiration.

In many ways Fear Of Programming is a reflection on the artistic process – the critical hurdles one has to overcome, the constant strive for originality, the ability to capture inspiration in its pure moment of inception. Bar the closing title track (and we all know Marcel loves a surprise closing), these 13 tracks came together during a period in which our hirsute host was able to immerse himself in studio practice and set the intention to record an album’s worth of material every single day. From the resulting mass of work there were many options to choose from, and Fear Of Programming stood out as one of the most complete statements on Dettmann’s approach in the here and now.

Unconcerned with an overarching concept, it was the work in the studio which drove the musical direction. No labouring over knotty arrangements, no painstaking mix downs – just honest expression, a moment caught, a groove locked, a stroke of synth sent pirouetting over a cavernous bed of texture. The results are varied, and while you might well hear plenty of bruising machinations in line with the techno Dettmann has made his name on, there are plenty of other shades expressed across the album.

Ambient sojourns, beatless epics and angular electronica have equal footing with strident, floor-friendly workouts. Standout piece ‘Water’ offers an icy ballet of swinging minimal and drip-drop melodics fronted by Ryan Elliott on lesser-spotted vocal duties, urging, ‘give me a sign, just a little something to let me know that you’re mine’. It’s playful, but still underpinned with the sincerity that comes with Dettmann’s work.

Running on instinct, Dettmann presents an honest version of himself in the here and now, speaking through the sonics and not over-thinking the results. His decades of experience helming a thousand techno parties speak for themselves, while his evolution as a musical entity through collaboration and his own BAD MANNERS label demonstrate his appetite for change. Indeed, the working method which resulted in the album also spurred him on to create a live set beyond his well-established DJ practice. Without resorting to a conceited overhaul, Fear Of Programming opens up the idea of what Dettmann represents in the modern techno landscape.

Following up 2021’s compilation 'and felt like...', ' ...it wasn't really me' can be seen as the missing part of a diptych, only separated by the passage of time, yet whole in spirit. Again, a familiar company of singular artists showcase remarkable unity in diversity. Similar to its predecessor, a rustic gloom glues everything together into a seamless whole, enabling the collective to transcend each unique contributors' musical voice elegantly.ambient

New sub-label to Gunfinger Food focusing on uptempo, bouncy beats. Volume 1 delivers a dose of speedy, acid booty hardcore slammers by the mysterious producer Beerus.
Limited to 300 copies.

White label, hand-stickered and purple sleeve.

White Vinyl


LUXXURY’s rework series comes in caliente with Volume 5. Spiced and diced, with that fire that every dancefloor needs. Meaty kicks, tasty basslines, juicy echoes and straight up re-edit wizardry.

Repressed in Limited Edition Snow White Vinyl.

• Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer.

• It was a landmark album with its bold, poetic lyrical content allied to progressive and melodic music, and it saw producer Bob Thiele help Gil and his musical partner Brian Jackson paint the picture they needed to get their message across. Thiele put Gil and Brian together with Ron Carter, Hubert Laws and Bernard Purdie, giving them the musical heft they wanted.

• For many years the focus was on ‘The Revolution Will Not Be Televised’, which was included in the Grammy Hall Of Fame in 2014, but this focus sometimes overshadowed the heights which Gil reached throughout the album. Today ‘Home Is Where The Hatred Is’ and ‘Lady Day And John Coltrane’ are also considered standards, whilst the album’s title track is a prescient and heart-breaking warning about the way in which big business dehumanises its workers.

• The album reached its landmark 50th year in 2021 and we decided that we would create this special edition to celebrate its incredible sound. The original master tape was taken to Frank Merritt at The Carvery in London, who cut it as a double disc 2 x 45 RPM record, in an all-analogue chain. The original record - especially side two - was long, and serving it up this way allowed the music a greater level of fidelity.

• The release is packaged in the original album’s gatefold sleeve.

Four Flies Records is proud to present its brand new imprint Edizioni Della Notte, which expands the label's musical range. The sound of Edizioni Della Notte is a sound of twilight atmospheres and moonlit nights, traversing genres from disco-funk to soft rock, jazz-fusion and city pop. It's the music that creeps out of smoky nightclubs and car cassette radios, breaking the silence of empty streets and offering an escape from metropolitan reality into cosmic-exotic dreamlands.

Quite fittingly, the first official release on Edizioni Della Notte is called By Night. It's the debut EP of Scerida, a solo project of musician and singer-songwriter Daniela Resconi, and a perfect match for the sound that the new imprint intends to represent.

Its four tracks explore the idea of night as a time of ecstasy and torment, as a land of freedom and imagination but also of delusion, as an accomplice, a friend and an enemy described through feelings and mental states that range from expectation and euphoria to disillusionment and resignation.

Resconi, who hails from Brescia, northern Italy, formerly released music under the moniker Cara and as part of the duo The Loud Vice. Her new alias Scerida, which combines the French term chérie with the Spanish word querida, signals both a revolution and an evolution. "Scerida is a dive into the exotic side of my imagination, into mischevious thoughts, into a crazy night where I lost and found myself again," she explains. "She is still me, Daniela, but she keeps her eyes wide open on this restless, troubled world to write songs that try to ward off the horror vacui of everyday life."

By Night celebrates the dark hours as magical and mesmerizing, even when mysterious or dangerous. It evokes images and scenarios cinematically – a taxi passing by and fading into the distance, ice-cold Martinis during a party, whirlwinds of emotion, psychedelic sunrises and neon sunsets – through a stream of consciousness filled with noir-inflected pop, lo-fi vibes, slow hypnotic rhythms, suspended grooves and swelling atmospheres.

Das Grammy-nominierte Produzentenduo ODESZA (Harrison Mills und Clayton Knight) gelten zurecht als eine der populärsten Gruppen im Bereich der elektronischen Musik und haben den Ruf, ihre Fans auf ihren regelmäßig ausverkauften Live-Konzerten besonders glücklich zu machen. Anfang September 2017 veröffentlichen sie ihr neues, 16 Stücke langes Album "A Moment Apart" welches über das Ninja Tune-Sublabel Counter Records erscheint. Anschließend präsentieren sie ihrem Publikum das neue Material auf einer ausgedehnten Welttournee.

"A Moment Apart" präsentiert sich gereift, ein Sound, der insbesondere auf Atmosphäre setzt, auf funkelnde Synth-Lines - und auf Gefühle wie Nostalgie, Zuversicht und Hoffnung. Die namhaften Gäste auf dem Album sind u.a. Leon Bridges, Regina Sektor und Ry X.

Standing firm on a steady driving rhythmic section, Over The Leap symbolizes the awakening of the life on Earth, the arrival of the morning sun. A deep chord brings in the necessary warmth to prepare the ground for the life on earth to emerge, a bright uplifting pad signs in the beginning of a new day as the light surely gains intensity. Steve O Sullivan adds his signature steady sound to the original track. Emphasizing the comfort and warmth of the early hours of a summer day; extending time as if to focus the attention on the beauty of a world not yet awakened but ready to be. Original hovering over, remix going deep into the leap that the world is about to take every single day when the birds sing. Original Behold, Begin will be available as free download, which offer the necessary well deserved space to Heavenchord to fully express his deeper interpretation of it, giving a massive push to the Jazz influences of the track to then introduce to the audience the depth of a reshape that could only come from one of the most profound artists that Dub Techno has in store today. A release aiming to bring together the two principles of life according to ancient Philosophy : ground the feet on the soil, extend to the sky, and come back to being with a deeper focus on the feeling of being alive.

Perc Trax's scene leading Forever series returns for its third instalment. Taking a more curated approach to your typical 'release 30 random tracks and see what sticks' approach of most VA projects, the Forever series keeps the track count tight and the quality control even tighter. Featuring four artists new to Perc Trax plus new material from label regulars Perc and EAS, Forever 3 is essential as a summary of where both Perc Trax and the wider techno scene are at right now.

Opening up proceedings is Somniac One, making her Perc Trax debut after well received releases on RAW, Ghostly International, PRSPCT and her own newly launched Somniverse label. 'Junkyard Shift' is everything you'd expect from Somniac One on Perc Trax, huge kicks, hardcore synths and just the right amount of dance floor drama. Next up another Perc Trax Exos debutant, well known for his releases on Trip, Symbolism, Force Inc and more serves up something from the rougher extremes of his musical range with 'Warlion' a 4/4 stomper relying on swooping synths to drive the track forward.

On the B-side Perc collaborates with new Perc Trax signing Million on 'Rotopod'. Working together for the first time the newcomer influence pushes Perc's sound to a faster, more aggressive place. Closing the vinyl is 'Ryu Acid' by Perc Trax regular EAS, an acid fuelled monster that has been a highlight of Perc's sets for over a year now.

Hot on the heels of last year's Dear Diary EP on Lobster Theremin, explosive performances on HOR and an intimate interview with celebrated German publication Groove Magazine, frequent Berlin & Leipzig DJ Narciss comes through with four deep and groovy cuts of bass-driven techno.

'Feather Boa Constrictor' features one of Copenhagen's most exciting emerging producers in recent years - Vixen - fresh off her own acclaimed release, Hard Magik For Soft Souls, on Lobster Theremin in December. Now the pair link up on the DJ Mag Breakthrough Label of the Year imprint that blends all the best elements of the Berlin and Copenhagen scenes in a highspeed trip through psy-trance, synth-wave and techno.

Narciss is on his ones as we enter the A2; 'Lovechild' (Outrun Mix) is aptly named with its reference to the 1986 arcade game Outrun, which featured some of the best video-game music to ever be created. Deep basslines, swirling synth-stabs and a soothing deepness and contemplativeness that can only come with driving a virtual car down a never-ending highway. 'Tokyo' makes use of polyrhythms and textures blended with what sounds like an old Sampha record. It's a wonderful combination of dark, deep and forward-thinking sound, before Copenhagen producer Repro comes through with a typically EBM-focused remix combining elements of every track.