Buscar:ext

Planet Battagon are innovators in Droid Jazz. Electronics, jazz and outer-national sounds ain't no new thing. But following in the extra terrestrial sounds and cosmic mythology of Sun Ra, Planet Battagon are not reaching for the cosmos but simply made of it. Droid consciousness is the starting point but what's consciousness got to do with it. The droid's need culture, music and art and of the highest and most experimental of that lies Droid Jazz.

Originating on Lord Battagon's home planet the group are documenting the folklore and jazz stylings of the Trans-neptunia neighbourhood out on the edgelands of the solar system. This debut release follows on from a Lord Battagon outing on the Atlantic Jaxx label. 'Who's out on Quaoar' is taken from the Ltd Ed 12' 'Battagon Symphony', part one of 'The Rough Guide to Trans-Neptunia'. The release also features 'Salacians of Neptunia', a homage to the early droid cultural pioneers and the chant like 'Moon of Dysnomia' that is played ceremonially to temper the erratic saline tides of the aforementioned moon especially during its retrograde period. Droids and saline do not mix well and OntheCorner are releasing these 'Rough Guides to Trans-Neptunia' after intercepting distressed transmissions prior to a
devastating saline tide.

The Noise Droids of Planet Battagon are:
Jack Baker - Acoustic Drums
Martin Slattery - Bass Clarinet,Alto Sax & FX
Oli Savill - Percussion
Mickey Ball - Trumpet
Nathan Curran (Tugg) - Synth Bass, Syn Drums, FX & Conductor

Composer, Synthesist And Producer Matt Robertson Is Set To Release His New Album 'entology' Via Tape Club Records On 16th November 2018. It Follows His Warmly Received 2016 Album 'in Echelon', Described By Mojo As "nils Frahm's Modern Classical Meets Jon Hopkins' Grainy Techno", "an Album Of Symphonic Electronica And Leftfield Techno Thats Cinematic In Scale" In Mixmag And "magnificent Wild Sound" By The Line Of Best Fit.

As Musical Director For Björk, Cinematic Orchestra And Anohni As Well As Working With Lamb, Emiliana Torrini And Bat For Lashes, Matt Has A Wealth Of Experience Collaborating With Some Of The Most Exciting Artists In The World. Working With A Collection Of Vintage, Modern And Diy Synths, And Combining Electronic Music Production With Classical Composition And Cinematic Soundscapes - Artists, Producers And Film Composers Alike Seek His Enveloping And Distinct Sound.

"i Love The Idea That Not So Very Long Ago, The Idea That A Species Could Become Extinct At All Was Laughed At. In The 17th Century, Fossils Were Believed To Be From Mythical Creatures Like Dragons. In 1796, George Cuvier Presented The Idea That A Species Could Have Existed And Now No Longer Existed, And He Was Laughed At By Scientists. Darwin Then Suggested That Evolution Did Not Need Catastrophic Events To Explain Extinction - More That It Was Due To Perpetual Competition In An Overcrowded World.

I'm Adopting The Word "entology" To Be An Awareness Of Our Current Period Of Geological Time Being An Extinction Period, Where An Extinction Period Is Defined As A Time When A Significant Proportion Of Species Die In A Geologically Insignificant Amount Of Time. I Was Trying To Imagine The Obvious Desolate Spaces Of A Post Apocalyptic World, But Also The Slightly More Opaque Vision Of The Fact That So Many Things Are Becoming Extinct Around Us Without Us Noticing, Or Even Being Aware Of Their Existence In The First Place.

The Idea Is Of Desolation But, Because Of The Awareness, Also Of Hope."

- Matt Robertson

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

Foul & Sunk is proud to present 'Morello', a cathartic EP from upcoming producer star D.Y.A. As an university educated jazz drummer the concept of improvisation and aspiration for that one special musical moment is surely no secret to D.Y.A. So both tracks 'Morello' and 'Cosy' are melodic groovers with the extra portion of soul. Beside this there are Johannes Albert and Shan on remixing duties. Albert is taking it to a deeper level, while Shan delivers a 9 min. monster remix with his emotional melodies and deep grooves.

About D.Y.A
City: Berlin (DE)
Labels: SOLIDE / Foul & Sunk
Growing up in a family where D.Y.A was surrounded by all kinds of different music led
to the mindset of appreciating each genre as equally important and eventually got him
to draw inspiration from all kinds of music. As an university educated jazz drummer the
concept of improvisation and aspiration for that one special musical moment is surely no
secret to D.Y.A.

While being Berlin based and a founding member of - SOLIDE', a label and collective he
runs along with fellow producers Kalyma and MYNY, translating these rather complex
concepts from jazz into house music, wether we are talking about production or DJ Sets,
has been one of D.Y.A´s main goals. Looking back to a relatively young discography, this
summers forthcoming EP´s on Solide and Foul & Sunk, with remix guests like Johannes
Albert, Panthera Krause or Shan, will fall in nicely to showcase D.Y.A's influences and his
quest for a special musical moment.

Arguably One Of The Most Acclaimed And Loved Bands Of The Past 20 Years, By Both Fans And Their Musical Peers Alike, The Beta Band Formed In St. Andrews, Scotland, In 1996. Innovative And Singular, Their Unique Musical And Aesthetic Approach To Everything They Did Set Them Far Apart From Their Musical Contemporaries. Together For A Relatively Short Period Of Time, The Three Albums And Three Eps They Released Between 1996 And 2004 Would Nonetheless Help Define Them As One Of The Most Exciting And Cherished Bands Of Their Generation. After A Short Hiatus The Band Gradually Gravitated Back Into The Studio And Recruited Noted Uk Producer Colin Emmanuel, Aka C-swing, To Oversee The Process Of hot Shots Ii' Which Was Released In Mid 2001. Notoriously The Band Had Intended To Release squares", Which Featured A Sample From The Günter Kallmann Choir's 1970 Version Of Wallace Collection's daydream", As The Lead Single. However After Filming The Music Video And Taking The Single To Radio It Suddenly Transpired That Another Single daydream In Blue' By I Monster Featuring The Sample From Günter Kallmann Choir Recording Was Also To Be Released At The Same Time Causing The Band To Release broke' Instead. Touring Extensively And Supporting Radiohead In August 2002, They Made No. 3 On Q Magazine's List Of 50 Bands To See Before You Die".

International Black's 6th release comes from critically acclaimed electro supergroup London Modular Alliance. Operating from a refreshingly simple credo of: 3 men, 0 computers, many patch cables - LMA create their music on the fly using soley modular synthesis. Consisting of Koova (brokn toys), Pip Williams (Central Processing Unit) and Yes Effect, these three experienced producers have blown minds with their ecstatic live performances across the globe. Coming in hot after releases for Kirk Degiorgio's A.R.T. Records and Hypercolour, their release for International Black takes no prisoners. Opening the A side is 'Same Repeated Cycles', an ice cold electro inspired groove featuring LMA's signature modular synthesis. Engineered to perfection and mastered by Matt Colton, this cut delivers a new level of toughness to the International Black catalogue. On the B Side, 'Acid Lab' takes a more gentle approach: slo-mo electro drenched in acid. The lead tb303 riff floats in an abyss of dubbed-out dystopian psychedelia. Closing the record is 'Volatile State' , an otherworldly piece of alien sound design which simmers ominously for over 2 minutes before exploding with an extra-terrestrial electro force which simply can't be ignored. Each listen reveals a new detail of this impossibly intricate yet incredibly effective record. Designed for the club, engineered for the mind.

Los Angeles - September 7, 2018 - Billy Idol's 1980's remix collection, Vital Idol, is getting a modern-day upgrade with Vital Idol: Revitalized, set for release on CD and digital by Capitol/UMe on September 28. A 2LP 180-gram black vinyl in addition to a limited edition, color variant will follow on November 16.
More than 30 years after his groundbreaking Vital Idol compilation cemented the vibrancy of the dance-rock remix genre in the second half of the 1980's, Idol's Revitalized collection features 11 brand-new remixes of his most classic and enduring hits. Lending their hands to the Revitalized proceedings are electronic dance luminaries Moby, The Crystal Method and Paul Oakenfold as well as current innovators including Tropkillaz, Shiba San, Juan Maclean, CRAY and RAC, who's remix of 'Dancing With Myself' debuts today.
Vital Idol, initially released in Britain in 1985 and subsequently issued in the United States in 1987, was the first remix record released by a rock superstar. Besides being certified platinum, Vital Idol was accompanied by a version of 'Mony Mony' that reached No. 1 on the Billboard Hot 100 Singles chart, as well as hitting the Top 10 on the U.K. Singles chart.
Highlights found within the grooves of Revitalized include The Crystal Method's percussive, explosive stab at 'Rebel Yell,' CRAY's bass-and-keyboard-blessed 'White Wedding,' Tropkillaz's trop-house framing of 'Eyes Without A Face,' St. Francis Hotel's shimmering stop/start caress of 'Flesh For Fantasy,' and RAC's retro-harmonic, fist-pumping 'Dancing With Myself.'
Meanwhile, the digital version of Revitalized features four additional exclusive remixes, namely the brand new Billy Idol/Steve Stevens Remix of 'Mony Mony,' Paul Oakenfold's Extended Remix of 'One Breath Away,' Moby's 'Half Time Version' of his take on '(Do Not) Stand In The Shadows' and 'Save Me Now (Lost Dog Remix),' reworked by Billy Idol's son, Willem Wolfe with Brandon Rauch and Ed Bedrosian.

North East duo Forriner are back with their third and final instalment in the samurai trilogy on their eponymous 'Forriner Music' imprint. Following a couple of impressive showings with previous EP's 'Condor' and 'In the B' they return for their hattrick with '17:17 Neon'. A four tracker of experimental club music for powerful dance floor experiences that offers two originals as well as a banger from Bird Of Paradise and a mouthful of mathematics from Legget and Suade for the remixes.

First up, 'The Jungle Is Deep' which immediately sets off at a rate of knots! Its sharp pace is tempered by the sound of the drums: dull kick, wooly clap, rattling hi-hats while its bassline bleeds in slowly as a dark repeating tone and subtle chord swell and a haunting, cautious vocal reminds you that 'The jungle is dark and deep'. The second half of the track balances its steamrolling kick with an intricate, hypnotic lead as a growling synth line shuffles and recombines over its rumpled techno groove. It's feeling is transportive, the kind of music that makes you close your eyes on the dance floor.

Fellow Northeast alumni take up the remix for 'The Jungle Is Deep'. Steve 'Four Hands' Legget and Suade Adapted hammer a hefty slice of future dub techno from the skeletal remains of the original! Its chunking, discordant drums and manic echo chamber combine with a lilting bassline making sure you know that this is tough music but that it also has a tender heart. Clipped vocals squelch and flutter throughout but these are more textural than melodic, adding extra depth to the track. This trip is all about striking, psychoactive grooves, pushing the swing settings to extremes. Equal parts sinister as it is are playful. Fitting the typical tradition of winsome, weird dance music.

Over on the flip is the title track '17:17 Neon' featuring vocalist Louis Adams and violinist Late Girl (Laura Stutter Garcia) Breathy melancholic vocals and pitched down, endorphin flooded electronica. This is techno in a state of dewey eyed delirium. The neon of the title is very much instructive here, with the vocal being the scattered, shining light that the track playfully hangs itself from.

Jo Howard aka Bird of Paradise takes the reins for the final remix delivering a charging peak-time club tool with relentless batteries of percussion setting the stage for a trippy soundscape. Other than their Northern roots, what these producers have in common is a distinctive approach to rhythm. The restlessness of the sharp stabs of static perfectly guiding the darkly pulsing mood.

Kalita Records are proud and honoured to announce the first
ever and official reissue of Kallaloo's sought-after 1982
disco single 'Star Child', accompanied by interview-based
liner notes. Originally released on Jeffrey Turpin's
Trinidadian record label IDA, 'Star Child' has since become
highly sought-after by both DJs and collectors alike as an
invisible, yet astonishing piece of Caribbean disco. Unable
at the time to gain the traction and success that it deserved,
we hope that this re-release provides an opportunity to bring
such a great record to a much wider audience.
Kallaloo consisted of various Trinidadian musicians including
Keith Alexander and Peter Wayne Barkley. Keith had been
well-respected as a member of the Trinidadian group Impact, and
was later to become an in-demand producer and composer under
the name of Keith Diamond, responsible for various hits by Billy
Ocean, Donna Summer, Starpoint and Melba Moore. In contrast,
Peter was a well-known recording session drummer, but after
'Star Child's' release he moved to North Carolina to pursue other
interests and 'was never heard from again'.
'Star Child' was recorded at Right Track Recording, in mid-town
Manhattan, New York. As Jeffrey recalls, the atmosphere in the
studio was 'great', with 'everyone upbeat, the cream of the crop
just looking for that break... everyone was talented and just
wanted the chance to express their own ideas'. Five hundred
copies of the record were released on IDA with a white label
design, and they were sold both in Brooklyn, New York and Port
of Spain, Trinidad. It was also released on a red label, however
this was not to Jeffrey's knowledge at the time.
Jeffrey explains that the reason why the record didn't fare well at
the time was because of the difficulty in getting the song played
on the radio. As he recalls, radio stations were much more likely
to play 'radio versions' of songs which lasted for a couple of
minutes, rather than five or seven minute 'extended' versions
such as 'Star Child', which were more suitable to a club
environment. In addition, as Jeffrey explains, radio airplay is a
'political business', and also within a short while band members
such as Keith got their own breaks, and the Kallaloo era was over
as quickly as it had started.

Aurous, Irreligious, Meandrous

Tresque continues to strive towards his unique hedonistic feel for progression and tribalism on the Aindanão EP. His minimalist techno sound is defined by unlikely shifting patterns that aim directly into your muscle memory.

After his Lensomni EP and Geissle EP on -OUS and an EP on "Care of Editions", Tresque shifts his pace and delivers two hypnotic dancefloor tools on the Aindanão EP. Coming from an extended artistic career as improvisation and experimental musician, Geneva's D'Incise returns to his roots under his moniker Tresque. Inspired by restless dances and the sensation of seemingly endless potential, he explored the interconnections between advanced Techno, Dub and Minimalism with a polyrhythmic approach. Tresque adopts an attitude of purism to formulate an own take on the nature of traditions and rituals.

Berlin-based collective African Acid Is The Future inaugurates its new label partnership with The Vinyl Factory by releasing the first in a three-part 2×12 series Ambiance.

The first instalment, Ambiance I, captures two extraordinary live performances in Berlin, backed by remixes from AAITF members Dauwd and Wolfonacid on the second 12.

The live performances feature Kenyan dodo singer Ogoya Mengo & The Dodo Women, and the woman once described as Zimbabwe's mbira queen Stella Chiweshe. The former was recorded live in Romain's Azzaro apartment, while Chiweshe's performance was captured in front of an enraptured crowd at Berlin's iconic Funkhaus venue.

* Featuring Kenyan singer Ogoya Nengo and 'the queen of mbira' Stella Chiweshe
* 2 x 12 180g heavyweight vinyl includes in a gatefold sleeve
* Includes printed inner and outer sleeves and an African Acid Is The Future booklet
* Artwork by Louis Vignat
* Vinyl edition of 500

Lance Ferguson's Raregroove Spectrum is a collection of newly recorded versions of classic funk, soul, jazz and latin vinyl rarities, which features some of Melbourne's finest musicians across the album, including past and present members of The Bamboos, The Putbacks and Hiatus Kaiyote.

This 2 track single provides just a hint of what delights the full Raregroove Spectrum album contains - Lance explains that much of the inspiration for the re-works comes from his experience as a DJ; "Some of these versions can almost be looked at as DJ re-edits, sometimes we're extending what may be a really short track into something longer, or teasing out the elements in a song that really make it work on a dance-floor. It's essentially what someone does with a club re-edit, except we went the extra step and re-recorded the whole thing with a live band".

First up is a reinterpretation of a super obscure deep funk acetate 45 released by Keb Darge, Egg Roll - the follow on track is Lance's take on The Soul Vibrations The Dump.
The forthcoming album reaches further - and includes James Mason's 'Sweet Power, Your Embrace' as a sun-drenched Samba, or Anderson Paak's sure shot tune 'Am I Wrong' given an 1980's style Boogie/Jazz Funk makeover to the epic, widescreen Jazz-Funk of Pleasure's 'Joyous' - Rare Groove Spectrum provides new perspectives on the obscure to the well-loved, from old-school to new sounds - this is rare grooves re-grooved... beautifully.

Sme used to think that here's a guy who's just too cute to be underground, but SEBASTIEN BOUCHET proved them all wrong - with releases like the trippy "Fallen Angel" EP (KOMPAKT 210) or his gutsy contribution to Kompakt's Speicher series (KOMPAKT EXTRA 77). He also had a spectacular appearance on YOU AND YOUR HIPPIE FRIENDS' inaugurating release "A Very Nice Combinado Volume Uno" (YAYHF 01) with the tune "Captain Drag" - which went on to be played around the world, from clubs and festivals to Chanel fashion runways. Now, Sebastien returns with COYOTE CRY, his first full-blown EP for the Hippie Dance sister label: eclectic and unique, this five tracker reflects different sides and moods in his work, but always takes the momentum center stage - from the guitar-infused vocal shaker JAMBE DE BOIS to the heavy-duty bass of JATAGARAZI or the melancholic drive of the glistening title cut.

DFA release Crooked Man's new album, 'Crooked House'.
Speaking about the album's lead track, 'Take It All Away',
Crooked Man says: 'It's about not being suffocated under the
mountains of useless crap that Mammon shits into every
crevice of modern life... quite possibly the world's only anti
consumerist disco song.'
The elusive Crooked Man returns to DFA with 'Crooked House'
LP, a maximalist take on electronic and house music that picks
up where 2016's self-titled album left off. Teaming up again
with Michael Somerset Ward (Clock DVA) and David Lewin
(Bleep & Booster) in the studio, Richard Barratt crafts a
comprehensive journey of hi-fi house belters with more sinister
electro-pop mixed in for good measure.
The album is influenced by two historic epicentres of electronic
music: Sheffield UK, where Richard has had an illustrious
career in a mix of legendary groups like Funky Worm, Sweet
Exorcist and The All Seeing I; and the NYC Loft-era disco
sound, where extended grooves were layered with peaktime
choruses.
Richard's diverse collaborations and intensely prolific
discography have now led him to records as lush and
sophisticated as 'Crooked House'. Considering the rarity of a
live Crooked Man performance or DJ set, it's a testament to his
hyper-creativity that these tracks are able to reach new heights
in a club setting. With support from disco historian Bill Brewster
and NTS resident Ross Allen, it's clear that 'Crooked House'
brings a timeless vitality to the current landscape of dance
music and continues an exciting new chapter in Crooked Man's
career.
LP format includes digital download code.

November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.


Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.


Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

Cyberfunk proudly presents:

CFNK005:Simple Technique - Superfuture EP

Since the inception of Cyberfunk one artist in particular has really taken on the core values and ethos of the label and has been working extensively with us.

After his debut release on Cyberfunk "Cold Steppin" gained heavy rotation on the dnb circuit from some of the scenes heavyweights. We gave Bournemouth based duo Ulterior Motive a chance to remix "Cold Steppin" and released it as part of our first ever Remix EP - Remixed Vol1. This dominated the charts for several weeks in a row.

Other than the aforementioned, the West London based producer has kept mostly quite bar one release - "Gorilla" which was part of the first in a series of various artist LP's from us: VA:LP-001

This EP has been in the works for quite some time, with some parts taking in excess of 3 years! (Yes we know but he's worth the wait we promise) this is a project we have been working on closely with Freddie and although he has kept us waiting we are happy to be releasing such a diverse and unique EP from an equally diverse and unique beard, sorry... - artist! Excuse me. (You'll see what I mean...)

We feel this is the truest and purest representation of Simple Technique as an artist. With a strong mix of tempos and styles all of which have been filtered through his unique outlook on music and rave culture. From bass house to Drum and bass to hiphop and trap influences with beautiful soundscapes in-between. This EP has flavours from all over and the raw signature sound that our fans have come to expect from a Simple Technique set.

We hope you enjoy the music. <3

If you are feeling it, please let us know
If you hate the music please still let us know so we can further promo the EP.

Redsonja Records presents: Reference number 17, 'Mercury', a 3 track EP, on Digital and Vinyl signed by two internationally renowned English artists, highly acclaimed on the global electronic scene. We are talking about none other than Mark Broom and Silicon Scally (Carl Finlow).

Mark Broom delivers the goods with 2 original tracks exclusively for Redsonja Records.
'Mercury' is techno in its purest form, a beautiful groove delineated by an accompanying string meandering synthetically along the track from start to finish, at times broken up by Broom's generous use of delay and reverberating claps, making the track compact and ready for the dance floor. Whereas a darker and more complex techno sound, alive with trademark Broom percussion, identifying with the current techno club scene can be heard spilling out of his second track '77S3'

Carl Finlow also presents us with a little gem of a track, surprising us once again, this time with an electro remix of 'Mercury' in true Silicon Scally style. The resources he puts to use define him as a serious producer, successfully maintaining significance and groove whilst distorting the soundscape by overlaying the sinister rhythm with captivating fettles and shapes of sound, the end result being literally extraordinary.

This EP makes for a must have in any techno sympathiser's collection, as RS17 is an all round excellent and authentic production, made with lots of care and attention.

Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.

French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.

So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.

In Neue Grafik's words...

"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.

I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.

This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."

More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.

'Cohesion' is the third full album from Anchorsong - AKA Tokyo-born, London-based electronic artist Masaaki Yoshida. Taking inspiration from Classical Indian Percussion, and '70s and /80s Bollywood film soundtracks

Anchorsong creates a journey of psychedelic, danceable and free-spirited compositions that blur the boundary between rhythm and melody. It was whilst extensively touring his previous album, 'Ceremonial', that Masaaki

became deeply fascinated with percussion, and shifted his attention away from the African drums present on his last record to the music of the Middle East, South East Asia, and then more specifically to the sounds of India. 'The Indian

percussion was the one I was most fascinated with, so I began to dig into that genre deeper, I started with classics like Ravi Shankar, and the more classical Indian musicians. But then I began to explore the world of Bollywood and movie

soundtracks which is another world and the more I listened to composers like Sapan Jagmohan, Rajesh Roshan and Kalyanji Anandji, the more the concept of the new record began to form.

Choosing to work with traditional Indian instruments like the tabla and dholak, Yoshida wanted to use instruments that possessed melodic qualities, and could be tuned to work in the context of electronic music. He found that when Indian

percussions mixed with other instruments they began to sound like a melody that blurred the border between rhythm and melody. The concept of bringing together contrasting elements and cultures is evident from the album's title,

'Cohesion'. Here Anchorsong has brought together musical traditions and sounds from across borders, forging a truly unique body of work. Having reached new heights with 'Ceremonial' through accolades such as BBC 6Music's #5 Album

Of The Year, 'Cohesion' looks to build on such successes through the coupling of a comprehensive European tour kicking off around the release of the album.