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The long-awaited MP is finally with us.

Milan based collective Just This are proud to present the 'Absolute Infinity EP', a joint release from Netherlands-based producers Sinfol and Octual. Featured in this package are two remixes from Gerd Janson prescribing a heavy dose of acid. Title track is a stripped back groove with a looping synth lead that wanders through ricocheting drums. For his first remix Gerd muffles the framework of the original, making room for a floating melody and warm lead, whilst the 'Acid Only' version takes the components of the original and throws them into a bath full of acid. Closing off the EP is 'Wire', a moody dancefloor cut for the after-hours.

Fourth chapter of the Ministerium label featuring Copenhagen's very own Martinez with a very special from remix from minimal funk master Melchior Productions Ltd.

Some Years Ago An Album By Dutch Band Milligram Retreat (enfant19, 2011) Was Released On Enfant Terrible. The Album Got Raving Feedback From Press And Music Enthusiasts. Sadly
The Project Was Short Lived... But Straight After The Project Came To An End Maurice Hermes, The Mastermind Behind It, Started His Solo Project Called Neugeborene Nachtmusik. Now Is The Time To Pour His Debut Album Out Over You... An Album Simple Entitled neugeborene Nachtmusik' And Highly Awaited...

Residing In Berlin Neugeborene Nachtmusik Has Shaped His Music More And More These Past Few Years Into An Unique Style Of This Own... Some Results Of This Were Displayed Already On The Various Artists Releases Exploitation (et017, 2012), I Am Enfant Terrible (etx, 2014) And Post-everything (et034, 2014)...

This Album Is A Pitch Black Experience... A Shamanistic Ritual And A Dark Trip Which Takes You By The Hand And Leads You Beyond And Back... You Get Served Six Long Tracks With Effective Minimalism And Trance Indulging Sounds... Influences From Elektro, Techno, Industrial, Noise And (black) Metal Can Be Traced... The Album Is Diverse But Coherent In Displaying The Specific Personal Style Of Neugeborene Nachtmusik...

Anklepants Introduces His Brand New Album For Detroit Undergroud, A Collection Of Ten Cuts, Made With His Very Own Arsenal Of Digital And Hardware Toys, Most Of Them Self Made And Customised For His Purposes. This Multi Faceted Artist Creates A Blend Of Twisted Ryhthms, Synthetic Melodies And Weird Textures And Noises, Yet Danceable Stuff But With Heavy Focus In Experimentation And Risk.

Pollen Opens The Release With A Weird Arabic Style Riff And Arpeggiated Clean Synths Over A Simple Beat, Until More Melodic Layers Complete The Equation.

Chowsey In Upstyled Onesy Minor Follows With Sampled And Morphed Traditional Instruments, Laying Over Destructed Beats And Rythms.

The Perfect Adult Man Relies On Atmospheric Stabs, Four Four Kick And Analogue Bubble Bassline, Dark, Grey And Melancholic.

'lé Cavé_isnt It Funny To Think Once Apon A Time People Thought The World Was Blue White Flat And Squaré' Is Made Of Twisted Samples, Asymetrical Grooves, Organic Instruments Decimated And Multiple Sound Layers.

808 Frapé Is An Homage To The Classic Drum Machine, Electro Shaped Drum Patterns, Floating Sounds And Crispy Metalic Glitches Dance With Random Sequences And Bleeps In A Robotic Exercise.

Reecard Farche The Torture Of Credo Mutwa And The Theft Of The Necklace Of Mysteries_noel Goes Again To Weird Random Bleepy Fields, Alien Grooves, Heavy Sound Processing And Glitched Details.

Industrial Kingpins Und Drachoen Is Dark, Obscure Number, Clear Rythms, Strings And Resonant Bassline Collide, The Groove Transforms To Broken Beats After The Break Bringing New Life To The Overall Feel.

Sharkblood, Sure The Sharks, Repeats This Phrase In Different Pitches Over A Solid Kick Pattern While More Vocal Layers Are Added Progressively In A Voice Madness.

Golife_refracto Relationé Again Plays With Samples In A Mad Style, Altering Every Parameter, Creating Granular Efects, Destroying The Audio Files Creating An Asymetric Tune.

Attila's Own Photos From The Shoot It's The Epilogue, In A Relaxed Mood, Sound Textures, Various String Samples Melting In Different Pitches And Crunchy Atmospheres.

Exhumed Tapes I is the first in a multi-artist series of cassette releases on the Modern Cathedrals label. With label art featuring small details of 'important graves,' the series will dig into eery, broken beat techno with gritty textures. The first cassette begins in a natural place: with Altstadt Echo crafting four works presented with an image depicting the grave-side rubble of his often-referenced inspiration Albert Camus. It will be limited to 50 hand-numbered physical copies.

Ultra rare cuts from Danny J Lewis. These unreleased "totally dubs" are the true definition of rocking horse shit!

One of the most exciting artists to emerge in techno circles in recent times, Drumcode is excited to present the label's first EP from Boxia. Over the last 12 months the UK artist has impressed with his classy take on techno that mines two decades of rave.

Last year's 'Colour Sequence' EP on We Are The Brave marked one of 2017's standout releases, before being tapped by Maya Jane Coles to remix a track from her latest album 'Take Flight', while B.Traits also shone the spotlight on him for a Future 12 residency on BBC Radio 1 throughout September.

Boxia first came into contact with Adam Beyer when he opened the Car Park at Tobacco Dock for LWE's NYD event in 2016, and since then the pair have spoken regularly sharing similar tastes in music and DJing. He dropped his first cut on DC during the summer of '16, with 'Revolution' that featured on A-Sides Vol. 5, making him primed and ready for his first full length EP in 2018.

The four-track work lives up to his growing reputation for crafting beautiful, nuanced and ultimately very powerful electronic music. The EP opens with 'No World Order', a deep transcendental slice of techno propelled by a wicked acid line and vocal that leads to a galloping finish.

'Only Human' is drenched in atmosphere and old skool wonder, a brilliant composition of punchy multi-layered drum work, catchy synth lines and cutting acid that reveals its tender side with emotive broken beat interludes. 'Unreal' is a big peak time belter, raising the tempo to sweaty palms level, as a propulsion of acid and a memorable riff fill the techno sphere.

The title track 'Ethereal Education' closes out the work, a beautiful chord-driven vocal cut that evokes images of the classic dance that characterised Boxia's earlier years and makes a fitting outro to this outstanding EP.

Independently released album of 80s influenced / new era Boogie, Disco and Jazz fusion performed and recorded by Skymark. Great songwriting and drum programming skills are on display throughout while he deftly works an array of synths (ARP, Prophet, Moog, Roland and Korgs). Big Tip!

Coletivo Vandalismo kick-start a new 12" series for the Contort Yourself label. Hailing from the city of Porto the duo also DJ under the name GAM and released their debut LP on Lake Haze's Eye For An Eye label. Their music has an immediacy that seems to stem from a background in live performance as opposed to polished studio sessions - an improvisational punk aesthetic that manages to carry this EP so strongly. Wild, crashing fx and unrecognisable vocal distortions layer atop wonky 90bpm drum machine grooves and the pair even show off what may be their turntablism skills on 'Zombie Zombie'. There's a nod to early concrete on the closing track 'Black Sun's Demise' with whirring, mechanical noise motifs suddenly jolting us into punishing gabber-at-33-minus-8 territory. The DIY spirit is alive and well here and the feeling that things could fall apart at any minute just adds to the tension.

Renato Cohen is one of those names that you can freely utter anywhere and it will get instant recognition, especially among seasoned Techno lovers who enjoyed his powerfully legendary tracks of yore. However, this is not the main reason why he is helming the fifth installment on Gop Tun's label. This has more to do with the relentless drive and irresistible swing that he can imprint onto any of his works, regardless of genre.
"Party Jam", as the name aptly suggests, packs the type of torque and wit that, wrapped in a bubbling bassline, delivers what it's simply expected from it: pure danceable energy.
A force intensified greatly on Whatever Whatever's reinterpretation, where these elements are enhanced by the experient ears and hands of Justin Strauss, a man whose knowledge and expertise on that kind of job is as vast as the Amazon jungle."Dynadisco" is another forthcoming statement for the dancefloor whose qualities rely heavily on its rhythmic dynamics, creating a gargantuan groove that will likely leave few survivors on any dancing space where it is unleashed.unleashed."

Third emission from Kavalanic Languages, featuring three wavey lines from Elio Terzi - all busted 606 hats and bass lines.

Steppa dubwise sound ! A masterpiece, once again !

"FLUX003 lands Spring 2018, 180gram limited edition vinyl (no digital) with cover artwork from Laura Zhang.

Straight out of coastal Bordeaux, Laroze is back on Flux with another collection of floor-focussed cuts. Joining him on remix duties this time is fellow Frenchman Kosme, who's been making waves with his residency at Lyon's esteemed Le Sucre club alongside the likes of Agoria and Laurent Garnier.

Following on from FLUX002, Laroze's style is typically packed with energy and verve, using the classic US house framework as a launch-pad to bring his sound to contemporary dance-floors across Europe."

2018 repress of the debut full length LP from Spencer Doran and Ryan Carlile's Visible Cloaks project. Initially recorded in 2013 and issued on cassette by Sun Ark in 2014 (as Cloaks), this first offering uses conceptual processes to weave many of the same threads as their later work; synthetic FM tones, tuned mallet percussion, and electronically modulated voice, all arranged in a gossamer web, spun with neon electronics. On this release the duo set off on the sonic journey they are still on today, refracting their influences through East West feedback loops, augmenting traditions with technology. Remastered 45rpm DMM version with additional surprises!

* The follow up to Shawn's Timespan album for Pittsburgh Tracks is "...The Next Planet Over"--an EP featuring four new tracks from Pittsburgh's synth maestro. The EP opens with "Works on Paper", which is like a cross section of Shawn's acclaimed improvised live techno sets. The collection continues with "Last Light On" and "Switching Rails"--two deep, driving synth numbers that are the product of Shawn's interaction with the beautiful surroundings of Pittsburgh and its Midwestern grit. Finishing the EP is "One More Sometime" a rare downtempo excursion propelled by synth bass and lush atmospherics.
* The follow up to Shawn's Timespan album for Pittsburgh Tracks is "...The Next Planet Over"--an EP featuring four new tracks from Pittsburgh's synth maestro. The EP opens with "Works on Paper", which is like a cross section of Shawn's acclaimed improvised live techno sets. The collection continues with "Last Light On" and "Switching Rails"--two deep, driving synth numbers that are the product of Shawn's interaction with the beautiful surroundings of Pittsburgh and its Midwestern grit. Finishing the EP is "One More Sometime" a rare downtempo excursion propelled by synth bass and lush atmospherics.

* Pioneers of the electronic music scene, Music Producer and Finiflex Studio Owner, John Vick and DJ, Davie Miller are working together on a new project . . . . FINIFLEX

* TA TA OO HA was the first single to be released from the much anticipated forthcoming album SUILVEN, slated for release in May 2018.

* FINIFLEX have been playing the new material live since the end of 2016 with gigs in Edinburgh (Neu Reekie), Glasgow (Let's Go Way Back) Skye (Non Stop Easter Weekender) Barcelona (Kosmopolis), Dundee (Carnival 56) and the TA TA OO HA Single Launch Party (TRANSMISSION) in Glasgow.
The show itself is an immersive experience featuring lights, live projections and video graphics, basically a super slick production rammed with back to back bangers.

* These new releases may by the first in 20 years but in reality it's not been such a long period of silence. The almost a secret FINIFLEX Studio Complex (FINIFLEX HQ) based in Leith, Edinburgh has continued to work away with some of the best in the genre including the likes of Justin Robertson, Lord Of The Isles, DJ Rolando, Andrew Weatherall, Sparks, Billy McKenzie, Jon Pleased Wimmin, Paul Oakenfold, Dave Ball (Soft Cell) to name a few.
It's a given that their past assures their pedigree within the electronic music arena but with the release of TA TA TA OO HA . . . . . FINIFLEX brought it all rushing into the future. . . . . .

Over the course of four unforgettable EPs released on Throne of Blood since 2013, Hardway Brother Sean Johnston has cultivated a broad international following for his singular brand of dancefloor fodder.

Best known as one half of legendary DJ team A Love From Outer Space alongside the one-and-only Andrew Weatherall, Johnston's roots in the dance music scene include a clutch of leftfield 90's era bangers on labels like Sabres of Paradise and Flashcomm. Beyond his original output, Johnston has also remixed the likes of Man Power, The Asphodells, Museum Of Love, Split Secs, Clandestino and many more.

The Laser EP is peaktime Hardway Bros business. 'Friedman Feedback Loop Revision' (a nod to TOB boss James Friedman's highly-valued opinions) is a masterclass in efficient simplicity, elevating a few basic loops into an exhilarating 8 minute monster. 'The Laser' rounds out the a- side with a classic electro rhythm/bass/vocal sample combo could easily have landed in retro territory. Instead, Hardway Bros easily flips a clutch of oldschool tricks into an utterly modern execution. The b-side finds TOB's label manager Max Pask injecting 'Friedman Feedback Loop Revision' with his love for all things analog and Italo. With his impressive collection of synths brought to life by Chinatown Records' Brennan Green, the song is transformed into an epic set- closer that's already devasting dancefloors like Berlin's Panorama Bar. The EP closes with 'Afro Sirene,' a midtempo groover with melodic arpeggios built for the discerning DJ's warm-up set.

After releasing his SAYS HI' EP in June, swedish producer 'sir Was' put finishing touches on his debut album DIGGING A TUNNEL'. Out via City Slang on March 10th 2017.

It took me 15 years to feel brave enough to do this!' confesses Gothenburg native Joel Wästberg, the guy behind the 'sir Was' alias. To reach the point where I could let myself do this was a long struggle. But once I felt less scared, it was kind of easy. It just came out, like: 'This is the sound!'' The sir Was sound' is built around supple grooves, is strangely haunting and yet inexplicably exhilarating, voices ricocheting off one another as they address loneliness, its solution and the requisite compromises. A jam session of Beck, David Crosby, J Dilla and D'Angelo might not sound much different to this yet unheard style. The unorthodox and exceptional approach of the recluse Swedish producer delivers one of the most exciting debut records of the spring.

Wolkenbett EP is brought to you by Claude Steiner and Yannick Sardi. Together they form Elektro Baboushka, a music project born as a result of the duo's close friendship and joint discovery of electronic music. Inspired by bands like Yello, Kraftwerk, and Depeche Mode, Elektro Baboushka developed their own style: a blend of ambient and downbeat spiced with jazz grooves and minimal. Musically trained in guitar and piano, Claude plays the guitar and builds loops while Yannick accompanies him with vocals and keyboard. Wolkenbett EP features two massive originals and an intricately deep remix by Sleep is Commercial's Andrea Ferlin.

Master of the fuzz saz, Turkey's answer to Eric Clapton brings burly axe attacks to the snakey folk melodies of Anatolia. Long proven to cause just the brain-rot you're looking for, here's a Koray collection of tracks taken from singles and LPs for your acid-drenched pleasure. The guitar slinger who was once stabbed for wearing his hair too long around the streets of Istanbul interweaves melodies as old as the ruins of Ephesus with the riffs of Black Sabbath & his own souped-up baglama. Find out why they call him Erkin Baba.

Double LP with extensive liner notes.

A native of the Caribbean coast of Colombia, Abelardo Carbono achieved legendary status in his country's storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of West African soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.

With the exception of a well-received compilation of songs from his 1980s heyday, Carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of Barranquilla. Now, Names You Can Trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering Afro-Carib beast of a cut, recorded with the assistance of Will "Quantic" Holland on rhythm guitar and Mario Galeano (Frente Cumbiero, Ondatropica) on keys and in conjunction with Lucas SIlva of Palenque Records & Polen Records. It's a true cross-generational and international collaboration that is uniquely possible via Colombia. The first release of this expansive & power packed studio session is a cover of vallenato pioneer Guillermo Buitrago's La Piña Madura. This updated take veers heavily towards Africa on a rock solid foundation of bass and drums, with Abelardo's trademark guitar and quirky vocals leading the way.

Following on from their 'Ususmood' EP in February, Finnish duo Shuffless return to Paris based record store and distribution company Synchrophone this May to deliver the enigmatic 'Puoliaskel'.

Taking inspiration from music, nature and the elements that surround them, Jukka Hänninen and Mika Hanka aka Shuffless have quickly garnered the attention of many within house and techno since making their production debut in 2016. Written at the Vislampi Studio, located in Ruutana City, Finland, using a combination of hardware gear from the likes of Roland, Korg and Arturia, here we see the duo reveal their latest work with four diverse and expansive cuts set for release this Spring as they return to Syncrophone's in-house imprint. Opening up the EP, Hänninen and Hanka fluently introduce 'Chi', a complex and evolving cut that effortlessly fuses deep, rich chords, and delicate, skipping hi-hats, before easing into the flowing groove of 'Lahti' with its jazz-tinged melodies and heady tones guiding the production into lighter territories.

On the flip, 'Nime Ñvailla' introduces a matrix of hazy textures amongst crunchy percussion licks and dubbed out atmospherics as the duo return to deeper, darker realms, before title cut 'Puollaskel' punctuates the package in classy fashion, laying down gritty analog percussion, resounding kicks and subtly programmed nuances to conclude an excellently worked EP.

Sent from a nearby star system, from one world to ours. Wondering the streets with misguided importance. How du is new to our planet, but does not yet know why he is here, only that he must heal himself and all those he meets in order to find his home. An inherent feeling that he has arrived to protect and serve others from the deepest patterns of evil overwhelms him. Evil that spreads through the mind in conscious frequencies of the brain. Areas we call the Shadow Realms of oneself. Unable to communicate in the correct language his correspondence with Earth people can only be transmitted through sound and melody. Music is his language and his tool. This is the Landing.
Deep Garage with a minimal spin and a broken beat format. A story in sounds. Best served on the rocks. Shouts to the bristol crew. Banoffee x

22 Digit LTD is the vinyl only off shot of UK based 22 Digit Records, and this new release is upfront House
music in the style of artists like Mr. G. This 22 Digit LTD release is a collaboration between UK stalwart Moodymanc and label boss William Welt
with solo remixes from Appleblim and Alland Byallo. Moodymanc also known to many as Dubble D, is a Manchester based artist who boasts seminal releases on labels including Tsuba, Local Talk and 20/20 Vision among many others of a similar calibre. William Welt is a young artist who now based in Manchester, cut his teeth in Newcastle upon Tyne, and has releases on labels including Traum and CONSTRUCT.
The first of the remixes comes from Appleblim, whose bass heavy sound has been a regular feature of
imprints inclouding R&S Records, Aus Music, Tempa and Skull Disco. Second of the remixes comes from Alland Byallo, who has previously released on labels including Third Ear, Get Physical, Poker Flat, Moodmusic, Dirt Crew and Rawax.

Matt Edwards' newly launched reissue label, R-Time Records, prepares its third release, the second instalment of Sir Lord Comixx 'Retroactive'.

R-Time Records shines a light on classic tracks that didn't always get the recognition they deserve, with the label's first two releases coming from Sir Lord Comixx and FBK. Real name Amoon Andrews, Sir Lord Commix's discography has been in high demand for many years, evident by soaring market prices. The A-side of 'Retroactive (Part Two)' features two tracks from a rare untitled release on 'Hard Up', whilst the B-side is made up of 'Chicago Jazz' from the 'Funk Box EP' on Eukahouse (under his a.Moon' moniker in '98) and 'Motionvibe' from 'Azid Jazz EP' on Cynic in '05.

Cosmic synths join wonky arps in 'UR My Omen' before moving into the more up-tempo 'Fog Horn' with its robust drums, off-beat bleeps and filtered effects. 'Chicago Jazz' takes things into deeper territories with crystalline Rhodes and jazz-influenced samples until 'Motionvibe' concludes the package with its syncopated structure comprised of twisted sounds, murky atmospherics and effervescent nuances.

Finally Copenema drops on vinyl. This special limited edition vinyl EP especially for those summer beach bar vibes.
The EP includes the much loved Te Faz Bem which became a Balearic classic in Ibiza last summer after DJ Harvey regularly played it at his residency 'Mercury Rising' at Pikes . This caught the attention of Pete Tong who played it on his BBC Radio 1 show multiple times.Deixa Música Tocar (Let The Music Play) on the B side is the second single (currently unreleased) and carries on the same classic Balearic vibe from Te Faz Bem.
Super strong remixes from Riccio & Kenneth Bager complete the 12' nicely. The single representing 'the other side of Ibiza' is receiving strong support from Pete Tong, DJ Harvey, Ruf Dug, Peaking Lights, Alfredo, DJ Pippi, Phli Mison, Jon Sa Trinxa and other Balearic inspired DJs and echoes a renewed interest in Latin and Brazilian inspired sounds across the beach bars of the Mediterranean in summer 2017. Copenema (Copenama = Copenhagen Vs Ipanema) is a collaborative project between artists from Denmark and Brazil with the album partly recorded in the living room of Brazilian star Rodrigo Sha in Rio Di Janeiro, and finished at the legendary Volmers studio in Copenhagen.

Copenema is the latest incarnation of Music For Dreams' label boss Kenneth Bager in collaboration with artists and friends Rodrigo Sha, Danish composer Troels Hammer and producer Thomas Schultz from Ambala. The lead single 'Te Faz Bem' was the last track recorded during the sessions and will be the first single released on Music For Dreams this autumn.

Following on from last year's debut release in the Myor Massiv 'LUV' sub series by Coco Bryce, this time he teams up with partner in crime FFF for another slice of lovey dovey junglism. FFF kicks things off with 'Never Let You Fall', on which he juxtaposes moody synth riffs with uplifting reggae vocals, making for an alienating yet strangely attractive combination, before delving into Amen mayhem extraordinaire. On the flip Coco Bryce opts for a higher cuteness factor on 'Lovin U'. Not necessarily aimed at the dancefloor, but with an undeniably 'junglist' feel to it, this little number is probably best described as a 'love song for the heads', although its ultra low bass frequencies are likely to rattle any sub woofer in the best of dub traditions.

Since the early 1990s, keyboard player Jessica Lauren has been a familiar part of London's alternative music scene. Jessica's keyboard skills have augmented the live performances and studio recordings of world renowned artists such as Jean Carne, Tom Browne, Dexter Wansel and James Mason, Japan's United Future Organisation, and UK soul diva Juliet Roberts.

Her previous Freestyle album 'Jessica Lauren Four' (2012) highlighted Jessica's minimalist approach, something rare and refreshing in the jazz world: she instills her compositions and playing with a refined sense of space which makes her music as much about what she doesn't play as what she does.

The albums' opener - Kofi Nomad is a deeply percussive afrocentric epic, featuring the beautiful baritone saxaphone of Tamar 'Collocutor' Osborn, one of the most in demand woodwind players working today, underpinned by a powerful foundation of percussion courtesy of Richard látúndé Baker, Phillip Harper and drummer Cosimo Keita Cadore.

Jessicas' amazing skill for writing simple, understated yet superbly memorable and catchy hooks remains undiminished. Highlights in this new collection are almost too numerous to mention, but Amalfi is a breezy bossa, which conjures up images of easy living days and sun dappled Mediterranean coastlines, whilst the angular and brooding Simba Jike has something of an Eddie Harris style deep, dark groove over which Jessica riffs and solos beautifully on grand piano - and Tamar once again blows freely, whilst 'level' Neville Malcolms' upright bass figure roots the entire thing in a solid, almost primeval sound.

The albums closing statement Argentina is a masterpiece of pathos and perfectly demonstrates Jessicas' approach which is almost akin to a minimalist architecture style of composing and playing, such is the strength of its atmosphere and subtlety.

It's rare to come across a debut album that delights and surprises in equal measure, but that's exactly what you can expect from Human Call, the first full-length excursion from daydreaming dancefloor fusionists Earthboogie.The East London-based duo of Izak Gray and Nicola Robinson has previous form when it comes to creating beautiful, funk-fuelled fusions of soundsystem-ready rhythms, humid instrumentation and intergalactic audio explorations. To date, they've released a pair of fine EPs on Leng, both of which did a splendid job in showcasing their unique musical vision.Even so, this vision has never been clearer than it is on Human Call, a vibrant eight-track missive that fixes the sticky tropical cheeriness of African and South American dance music - be it Afro-disco, Afro-funk or samba - with a wide range of complimentary sounds, styles and influences, from spacey analogue electronics, sun-kissed Balearica and hazy West Coast jazz-rock, to chunky dub disco, snappy retro-futurist house and bouncy, dub-fuelled club workouts.Throughout, Gray and Robinson showcase an impressive level of musicianship, variously combining crunchy drum machine hits and dusty old synthesizers with razor-sharp electric and acoustic guitars, rich bass, cascading saxophone solos and hazy, life-affirming vocal harmonies.The result is a string of memorable highlights, from the sticky tropical-house-meets-dub disco futurism of 'Human Call' and fuzzy disco-funk righteousness of opener 'Overground', to the post-punk disco jauntiness of 'Stargazing' and samba-infused dancefloor bliss of Nina Miranda collaboration 'Silken Moon'. Cheery, absorbing, imaginative and hugely entertaining, Human Call offers a perfect snapshot of Earthboogie's distinctive musical world.

CALIBRO 35's new single "Psycheground" flipped by the unreleased Polymeri (Afro-Utopia Vers) on limited edition 45 vinyl.

Psycheground is the new single from the Italian cinematic funk cult combo Calibro 35 available on a super limited 45 vinyl and digital download on May 04. Taken from their heavily acclaimed new album DECADE, Psycheground is an afro-funk stormer that sounds like Tony Allen involved in writing a score for a vintage Hollywood production. The new single is flipped by an alternative and hypnotic afro/tropical version of Polymeri. Don't sleep on it, all Calibro 35's previous 45s went sold out in a few days.

CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. They have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages with the likes of Roy Ayers, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years, Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

First time on 45 additionally containing world exclusive unreleased instrumental version
File under Hip Hop/ Breaks/ Funk/ Nu Soul

The latest single from Mukatsuku is from Australian DJ/Producer Katalyst who was one of the winners at Australian Dance Music Awards in 2002. 'How Bout Us' originally came out on Australian label Invada as part of an album ''What's Happening ' in 2007 before receiving a global release for BBE a year later in 2008 but up till now has never been out as a single in it's own right. The track 'How Bout Us' features vocalist Steve Spacek with an exclusive unreleased instrumental version on the flipside. Killer production with massive string lines and charismatic vocals to ignite your dancefloor.

Margie Joseph Recorded Prolifically For Atlantic Records In The 70s. She Worked With Incredible Writers, Arrangers And Producers, Sharing Many With Her Label Mate Aretha Franklin With Whom She Garnered Comparisons. i Can't Move No Mountains' Was Produced By Arif Mardin And Was Originally Released In 1975 (original Pressings Fetch Between £50-£75), While come On Back To Me Lover' Was Produced By Johnny Bristol In 1977 And Holds Similar Value. In June 2018 Margie Comes To The Uk Where She Is Reunited With Lamont Dozier Who Also Wrote And Produced For Her At Atlantic. Both Appear At The Blackpool International Soul Festival.

Foxy Red Recordings is proud to announce their first vinyl release consisting of four deep & funky House tunes by TiTLEZ!
If you're up for the warmth, depth, and feel of the classic House sounds of Chicago - look no further! TiTLEZ's new EP delivers the goods while going for a diverse, organic, and eclectic productionapproach. You can expect punchy drums combined with live(ly) percussion samples, jazzy piano chords, and spacey pads, among otherstudio trickery.
The tracks on TiTLEZ's new EP are carefully produced and naturally dynamic, not only mesmerizing the audience with beautiful
soundscapes but also telling powerful stories in a heartfelt, honest, and emotional way. 'Family Affairs' is all about taking the listener on an atmospheric journey and exploring the needs and desires of human beings... while bringing massive grooves to the floor!
Side A features 'Longing' and 'Love', two tracks that focus on the story of love and loss, making for a dreamy, spacey, and nostalgic tone and stretching out the line between love that imprisons and the one that sets free. On side B, 'Fame' and 'Richness' tell the story of wealth and recognition, putting a modern twist on the classical notion of these concepts.
TiTLEZ is a driven, talented, and diverse music producer and his sound is influenced by Afrobeat, Latin grooves and jazz, which all play a vital role on his tracks.
As a result of his kaleidoscopic influences, TiTLEZ developed a unique blend of deep house with a tech and afro twist with an edgy and authentic feel. His work is all about telling stories and conveying that deep, warm feeling to his audience. TiTLEZ's tracks stand out for their diverse approach and catchy vibes, showcasing world-class production aesthetics and excellent musicianship from this promising artist.

"This release is 3xLP and it's individually 1000 hand-numbered limited edition. The first 200 copies are pressed on BLUE TRANSPARENT vinyls (AR012).
It's dedicated to the Organic / Meditative / Groovy 1992 Japanese release, with all the ORIGINAL tracks, contained both in the CD and in the now so rare 12"" + 4 SPECIAL REMIXES from Japanese men, none than... Kuniyuki, Chee Shimizu (Organic Music), Max Essa and Tadashi Yabe (U.F.O.).
Archeo Recordings is a reissue record label that regenerates old, lost, obscure (and forgotten) rare gems of Italian music of the 70s and 80s, and not only.
All outputs are licensed by the artists and the vintage labels; audio tracks are remastered in their original form; the sleeves and center labels are graphically recreated for today but all based on the original images. Archeo would like to make the music available to a wider audience of collectors, DJs, music lovers of a forgotten time.

Spazio Disponibile hits release number 13 in style with a collaborative effort between label co-founder Donato Dozzy and longtime friends Retina.it. It is a typically experimental release that features five weird and wonderful tracks, seeing the label taking yet another dip into the more leftfield areas of electronic music.

Japanese sound sculptors Steven Porter (aka Katsunori Sawa and Yuji Kondo) sign two striking productions to Kynant, with a pair of remixes completing the 'Reservoir' EP. 'A Need For Distance' on the A-side is abrasive and hard-hitting but not without moments of melody. Fellow Japanese purveyor of tripped-out techno Iori mines a lean, highly-effective groove on the remix. 'Romance Tip' takes a slower, endlessly-detailed approach with sharp percussion and mindbending atmospherics; Max Durante, who recently released his debut LP on Kynant, contributes a broken-beat workout to finish the record. Mastering by Giuseppe Tillieci aka Neel

Red hot drum lead track backed by boiling point late night to early morning long haul truck driving or dancing music. Shazam!

Vital Sales Points:

(Drum track playing loudly)

The saws and sines have aligned! It's HOW007 time.

The release in front of your face is called The 417. It is three songs by Daniel Savio released on 12" vinyl strictly limited to 200 copies + an everlasting (we'll see how that works out) digital version of those same songs.

This recording was conjured up on machinery people are known to touch and sell. MK1 menu diving desktop stuff. Stuff that is ten years old, stuff that may be older. Stuff that purrs, rocks, bounces and skates. Machine prototypes on trade show floors will not be able to make songs like these. Unless you would hand them to Daniel which would lead to all sorts of inconsistencies in time.

Last year Daniel Savio's "Race To The Bottom" and his "Plejjern från Plejaderna" album took Swedish house music by storm. It is now with great delight that we hand you this 12", acclaimed by well-informed DJs. Music centred around feelings for what is in front of our faces at the moment. HOW007, get in while you can.

From Hip Hop to Soul, then from Soul to Beatmaking, Sly Johnson never really changed universe. Today, it's immersed in the mechanics with processors and printed circuits that we find him, under the alias of TAGi, producer-beatmaker who, for the occasion, has joined the services of Steven Beatberg. It's together, in artistic autarchy with the only presence of softwares, samplers and sequencers, that they have built their pieces in the light of their computer screens.
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After three EP dominated by instrumentals, the duo finally chose to realise their dream: to craft a multi-voice album where customized production for each guest would guide the creative process.

Rapper Big Pooh, the former member of the Little Brother group (With Phonte & 9th Wonder), the contemporary soul of Lisa Spada, but also the rapist #madeinfrance Pumpkin (worthy descendant of MC Solaar, Fabe ...), multi-faceted Georgia Anne Muldrow, the MC Finale, the new rising wave of artists of the Hip-Hop scene in Detroit. Tiemoko from Paris, Saga an MC who follows the pure tradition of the New York Hip-Hop, the very smooth-jazzy Elodie Rama and Dilouya, the producer of the previous record of Sly (The Mic Buddah), are of this casting where men and women share the roles and where TAGi as soon as the mic presents itself to him, becomes again Sly Johnson for some refrains, choruses or solo rereading of the sublime "Retrograde" of James Blake.

Guided by Hip Hop since the 90's until today, worked in great detail, YOUARESURROUNDED highlights vintage keyboards on granular rhythms, injecting a lascivious Soul, P-funk, electro futuristic or melancholic in black and white touches on 13 tracks that are as atmospheric as they are emotional.

As the title suggests, Rejuvenate marks a rebirth for South London musician Paul White. Abandoning sampling altogether, White wrote, played and produced all of Rejuvenate's music himself, and the result is an album of playful, psychedelic pop.

It would have been far easier for White - previously described as a 21st century DJ Shadow, often compared to Madlib and best known as Danny Brown's go-to producer - to construct an album of loop-based, hip-hop-orientated beats. Instead, taking an ambitious left turn, he worked on honing his songwriting and instrument playing abilities and embarked on creating a totally original record worthy of sitting alongside those he'd usually sample.

Rejuvenate's broad sonic palette includes cosmic rock, ambient, electronic, jazz, folk and more. Retaining a groove-heavy, psychedelic aesthetic throughout, White successfully melds these various influences in to his most cohesive, fully-realised offering yet.

Paul White is joined on this sonic trip by a trio of likeminded souls; British-Jamaican singer Denai Moore adds heartwarming, crystalline vocals to the aptly named Set The Tone and See Through, Zimbabwean musician and poet Shungudzo (aka Shun) shares nuggets of wisdom on Spare Gold and dreamy, melting vocals for Ice Cream Man. White reunites with his sister, Sarah Williams White, and the pair draw on childhood memories for Laugh With Me and All Around.

Paul White's previous output includes a treasure trove of mostly instrumental solo records, plus collaborations with Charli XCX, Jehst, Homeboy Sandman, Guilty Simpson, Jamie Woon, Obongjayar, Eric Biddines (as Golden Rules) and Open Mike Eagle. More recently, White reconnected with frequent collaborator Danny Brown, producing most of the Detroit rap maverick's mind-blowing Atrocity Exhibition album.

On this joint EP with Reggie Dokes, Gari explores the world of deepness without hesitation. He takes us on an intergalactic mind trip, while keeping it true to the dancefloor.
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On the A side is Reggie Dokes, who gives us deep house, then without shame moves us into that Detroit style of techno, cultivated by the Motor City. Mr. Dokes likes to walk in both worlds of house and techno, and not confine himself to one particular genre. This EP is the perfect
marriage of two creative producers, who bring excitement and inspiration to the dancefloor.

the new album from calvin harris with the hits ready for teh weekend & yeah yeah yeah !!!

Truly nuts and really kind of essential... the Starship Commander had his whole approach to the Synthesiser Voice technique. B-Boys/Girls delight. Check the instrumental cut, Mastership - a head nod synth voyage of the highest order. Limited copies. TIP!
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'How are you doing, Earthling' That's how Omer Coleman, Jr. addressed his public in the 80s, driving around Kansas City, Missouri in the electric space-car built especially for his alter ego Starship Commander Wooooo Wooooo.

Left Ear Records went back to Coleman's original master tapes for their vinyl reissue of the Commander's 1981 private press album Mastership, a lost electronic funk classic. Coleman performs in an alien voice that comes not from electronic filtering but from his own natural vocal distortions. This visitor from Mars wants people to be happy and, like his song goes, 'Laugh and Dance.' It's an endearing and very personal space-age funk that blends George Clinton and Kraftwerk in a vision of a better and happier world.

Born and raised in Kansas City, Coleman was musically inclined from an early age. His parents couldn't afford to buy him a real drum for orchestra, so he took up electrical wiring and wood shop instead, which fed his muse in a different direction. Omer built enormous speaker cabinets. In the late '70s he was a DJ, and ran a Mobile Disco business that took him across the country, hosting parties. After a trip to California, he came back to Kansas City inspired to dress up as Commander Wooooo Wooooo.

The future commander began working at the Armco Steel Mill in Kansas City when he was 18. He was inspired by older machinists who demanded perfection in their work and in their character. It was while he was working at the steel mill that Coleman came up with Starship Commander Wooooo Wooooo. One day coworker John Manley came up to Coleman with a vision of an electric car, and built it. His coworkers built all of his equipment, from lighting and fog machines to big steel eyeglasses. Coleman's sister, a seamstress, created his outfits.

Coleman started his own label in 1985 but took some time off from music to raise his children, and when they came of age his son recorded with Coleman as a gospel vocalist. When his son was killed in an auto accident in 2004, it took something out of him, and he stopped making music. But he's starting to get the feeling again.

Now 62, he's currently enjoying his retirement from a long stint with the IRS. The former Commander is in the middle of a house project where he's using metal ceiling tiles to line his walls. It's starting to look like a spaceship. Coleman promises, 'There is a real good possibility that we have not seen the last of Starship Commander Wooooo Wooooo!
Pat Padua'

Local Talk are honoured to welcome Trevor Lawrence Jr. With a CV that reads the who's who in the music scene today, Lawrence's performance and recording credits include Herbie Hancock, Stevie Wonder and Quincy Jones to name a few.
Tiptoe is taken from Trevor's debut solo record, 'Relationships', released in 2017.
On this 7" - the very first on Local Talk - we're re-releasing the original together with a remix by DJ Spinna.

On the A side the Brooklyn legend applies his magic touch to 'Tiptoe', combining warm and soulful vibes with a house touch. A must-have for not only for the soulful house heads but also anyone that loves quality in music.

Diahgonal is the new brainchildl of Ruben Alonso Tamayo, better know
to his fans as FAX. Having released on Static Discos, Level Records, and Leaf to
name a few. Spiral marks Ruben's debut on our imprint, introduces his sonic
reset as Diahgonal to the wider public, and adds another layer of personality to
our talented family of artists. Balancing the old with the new, ethereal sonic
exploration with analog warmth and thump. Every track embraces cinematic
splendour.

Strut presents the brand new album from cosmic jazz travellers The Pyramids, led by saxophonist Idris Ackamoor, 'An Angel Fell'. I wanted to use folklore, fantasy and drama as a warning bell,' explains Ackamoor. The songs explore global themes that are important to me and to us all: the rise of catastrophic climate change and our lack of concern for our planet, loss of innocence and separation... but positive themes too, the healing power of music, collective action and the simple beauty of nature.' Produced by Malcolm Catto of The Heliocentrics, the album was recorded during an intense week at Quatermass studios in London and is one of the deepest, richest works yet from a band reaching their highest creative peak since the early '70s. Some of the many highlights include the poignant title track depicting a fallen angel in purgatory, outrage and grief on the powerful, hard hitting 'Soliloquy For Michael Brown' and the lilting, beautiful album closer, 'Sunset'.

The Pyramids originally came together in 1972 at Antioch College, Yellow Springs, Ohio where teachers included renowned pianist, Cecil Taylor. After forming in Paris and embarking on a cultural odyssey' across Africa, the group recorded three independent albums, 'Lalibela' (1973), 'King Of Kings' (1974) and 'Birth / Speed / Merging' (1976) and became renowned for their striking live shows, mixing percussive, spiritual and space-age jazz with performance theatre and dance. After migrating to San Francisco, they disbanded in 1977. 35 years later, the band reunited in 2012 following growing demand for their music from vinyl collectors. German label Disko B released the freeform album 'Otherwordly' and in 2016, they released their first album for Strut, the acclaimed 'We Be All Africans'.

'An Angel Fell' is released on Strut on 11th May 2018 and features full hand-painted artwork by Lewis Heriz.

New concept album by leading cosmic jazz collective exploring global apocalypse, climate change and the healing power of music
Produced by Malcolm Catto of The Heliocentrics - Superb cover painting by Lewis Heriz
Full priority worldwide PR campaign and marketing
Release supported by major European tour dates in May and key Summer festivals

The 10th release on Mauoq Music is a remix project of the most successful release on the label so far, the Fabricate EP (MQM005). It features the musical talents of four different artists who all represent in their own way what Mauoq Music is all about.

Emperor returns to Critical with his first solo EP in nearly 3 years. A spectrum spanning work, with all styles of the genre covered with a deft touch.

The "Perfect Illusion EP" opens up with "Never Can get Away", a steamy & dreamy cut that sucks you right in to it's lair of thick pads and trancy sequences, which are contrasted by a carefully programmed synth bassline and a stomping house beat.

Next the title track immediately evokes early Chicago warehouse jam feelings, with bass sequence, detuned chords and classic drum patterns all oozing of old analogue Roland machines.

"Running Number" starts as a no-nonsense house track, yet it transcends into 80s territory with the help of a deeply emotional chord progression that might just make you forget you're in a club.

Berlin Duo Longhair give "Running Number" the Luv-Remix treatment, really digging deep into that chord progression and building a melody and synth-bell infused Italo-house track around it that should make this year's festival crowd weep and rejoice alike.

RSD2018 TITLE
London Artist MAL-ONE is releasing a limited edition 7'' single to celebrate everything Punk and as a lead up to his PUNK Art show 'Never Mind The Punk 45' .

The show feautures decallages of the debut singles of the leading names in PUNK,such as Adam and the Ants,The Clash,The Damned all the way to X Ray Spex.
It seemed only fitting to record a single that name checks some of the great record shops that sold these PUNK tunes in this fine city of ours for a Record Store Day release..

Artist MAL-ONE emerged at an early age from the Punk scene in West London and now has successfully exhibited alongside such artists as Banksy, Goldie and Peter Blake amongst others.
Inside the 7'' sleeve which is made up of a collage of a 100 PUNK singles you will also find an invite to he exhibition in May in The Herrick Gallery,Piccadilly.

It's been a while since Zukunft Recordings' last release but now their back on track with more quality music. Pacifica's 'Heaven Machine' is a beautifully diverse four-tracker lead by the ecstatic and vocal heavy title track.

DJ, producer and Rex Club resident Molly presents the third EP for her RDV Music imprint, drawing on talent from across her native France, featuring fellow Parisian Aleqs Notal (Clek Clek Boom, Sistrum) and 1977, as featured on Syncrophone's For Those Who Know imprint. While each side and artist offer their own distinctive flavour, percussive, classy late-night house music is the main course; ideal for late nights under dim red lights.Aleqs Notal pays tribute to the timeless appeal of spinning analogue wax throughout opening track, 'Sweet Rotation'; a simple hymn to the essence of house music, bubbling gently on bright keys and woozy basslines. 'Hands On' follows, offering a more nocturnal angle on this enduring aesthetic, reducing the energy but enhancing the atmosphere even further, both on-record and across any packed dancefloor.The more Southern sensibility of 1977 brings drumwork to the fore, weaving an exotic, patient tapestry of bubbling, alluring synths and analogue feedback across two confident, percussive jams. While 'Vodoom' indulges in tension and intrigue, EP closer 'Jdlf' is pure, unwinding pleasure, across which each of 1977's influences and instruments are offered freedom to breathe and evolve.With this installment of emminently classy and supremely confident house, RDV Music continues to prove itself as one of the most worthy musical institutions on the contemporary Parisian scene.

Next up on Tel-Aviv's Parallax Record is Matushka's debut ep 'Meta'.
Meta is a varied minimalist techno EP showing Matushka's range of production styles, with bits of braindance polyrhythms on top of industrial techno grooves, yet always understated and subtle in it's development.

Ryuji Takeuchi provides Instruments Of Discipline with an EP of noisy, hypnotic tracks, ranging from giddy, stomping, left-field techno to melancholic ambience; the EP's title 'One's Sentiment' provides a thoughtful angle to this at times cacophonous collection, for while they are bristling with noise there is something contemplative about the pieces, expressed in a way that suggests more than one thought trying to take life at the same moment, Ryuji finds space for conflicting voices both spatially and in terms of mood, the first three tracks, 'Ambivalence', 'Sadness' & 'Sorrow' crawl with competing elements, synth lines drool over and meld with throbbing kick patterns, anxiety & excitement are tightly wound in focus as tracks build and develop, leaving the listener to navigate these abstract planes, intoxicated; while the final track 'Regret' is a compelling piece of noisy, ambient minimalism that allows for an austere pause after the eruption of the initial works. It becomes evident that Ryuji's journey as a producer, through periods of hard-techno, deep-minimalism and the more abrasive ventures on HueHelix, has created a powerful and nuanced voice that is fully on display in 'One's Sentiment'.

Ryuji Takeuchi - Artist Bio

Ryuji Takeuchi (Local Sound Network / LSN, HueHelix) was born in Osaka, in the late 90s, he moved to the United States where he discovered Techno, House and Electro Music, influencing his desire to produce & DJ. His first wave of releases on LK Records, Arms, Mastertraxx, FK Records, SWR, Innervate, I.CNTRL, Impact Mechanics, Silent Steps, GSR & Brood Audio to name a few, were straight-up, hard techno,

In 2011, Ryuji started his own imprint, 'Local Sound Network / LSN', a platform for a new generation of both Japanese & global electronic music & later on, in collaboration with Tomohiko Sagae, Go Hiyama & Kazuya Kawakami, the label, 'HueHelix / HHX', developing further the voice of Japanese techno & experimental electronics, with a focus on distorted, industrial sounds.

In 2012, Ryuji launched the 'Local Sound Network Digital Solutions / LSNDS' series born from a desire to both discover and introduce a wider range of electronic music to the world.

Ryuji Takeuchi provides us with an EP of noisy, hypnotic tracks, ranging from giddy, stomping, left-field techno to melancholic ambience; the EP's title 'One's Sentiment' provides a thoughtful angle to this at times cacophonous collection, for while they are bristling with noise there is something contemplative about the pieces, expressed in a way that suggests more than one thought trying to take life at the same moment, Ryuji seems to find space for conflicting voices both spatially and in terms of mood, the first three tracks, 'Ambivalence', 'Sadness' & 'Sorrow' seem to crawl with competing elements, synth lines drool over and meld with throbbing kick patterns, anxiety & excitement are tightly wound in focus as tracks build and develop, leaving the listener to navigate these abstract planes, intoxicated; while the final track 'Regret' is a compelling piece of noisy, ambient minimalism that allows for a pause after the . It is testament to Ryuji's journey as a producer through periods of hard-techno, electronic minimalism

After two brilliant EPs Vertigo & Mirage, both released on between 2015 & 2016, and his freshly born own imprit Berimbau Discos, Malvito returns on Syncrophone!

'Harnessed To Flesh' is the new release from Berlin based industrial project OPERANT (Instruments of Discipline's founder and sub, respectively, Luna Vassarotti & August Skipper). Since 2016's 'ZK-II' & 2017's 'Zero Knowledge' Operant have been consistently touring, enforcing their reputation as a live act, melding chaotic noise with a disturbed, euphoric techno.

With this new release Operant engage a sense of intimacy which encapsulates their live performance; there is the familiar sense of hypnotic rhythms and collaged sound seen in the earlier works but the duo's production and focus have evolved, opening up new spaces and textures to their sound.

The opening track, 'Also To The Inorganic World' reflects the more noise oriented moments of their live show, improvised fragments, contact mic's and metal sheets combine with soundtrack like synths that seek to bolster a sense of unreality and pervert lo-fi expectations, 'Be A Boy' is a slow build, punctuated by car-crash impacts with the most coherent, almost narrative driven vocal of the record, concluding with a jarring, rhythmic seizure. Side-A finishes with 'Chancellory', an underlying sense of being underwater pervades, choking vocal sounds straddle the line between disturbing and playful. The B-Side sees a more direct and aggressive approach, 'The Sacrifice of Meaning for Power' is a dance floor oriented storm of percussion and punishing snares, Luna's vocals violently penetrate at moments, creating a feeling of vertigo within the locked rhythm, 'Dead Realities VIII' closes the record, beginning with a gabber influenced, rhythmic groundwork that unravels into a dronescape where an already torn reality is utterly destroyed.

Japanese vocal performer Hatis Noit will release her enigmatic EP Illogical Dance via Erased Tapes worldwide on 23rd March 2018.
The arresting 4-track record creates unique song-worlds with transcendent vocal interpretations that at once deconstruct and recombine Western Classical, Japanese folk and nature's own ambience atmosphere. Illogical Dance also features Björk-collaborators Matmos, who were so impressed with Hatis Noit's recordings, they volunteered to edit the lead track Illogical Lullaby.

Hailing from the distant Shiretoko, a small town in Hokkaido, which is the largest island in north Japan, Hatis Noit's accomplished range is astonishingly self-taught, inspired by everything she could find from Gagaku — Japanese classical music — and operatic styles, Bulgarian and Gregorian chanting, to avant-garde and pop vocalists. The sounds she created on Illogical Dance, co-produced by Haruhisa Tanaka and Matmos, bring to mind the experimental vocal patterns of Meredith Monk with the attentive production of Holly Herndon.

It was at the age of 16, during a trek in Nepal to the Buddha's birthplace, when she realised singing was her calling. While staying at a women's temple in Lumbini, one morning on a walk Hatis Noit heard someone singing. On further investigation it was a female monk singing Buddhist chants, alone. The sound moved her so intensely she was instantly aware of the visceral power of the human voice, a primal and instinctive instrument that connects us to the very essence of humanity, nature and our universe.

The name Hatis Noit itself is taken from Japanese folklore, meaning the stem of the lotus flower. The lotus represents the living world, while its root the spirit world, therefore Hatis Noit is what connects the two. For Hatis Noit, music represents the same netherworld with its ability to move and transport us to the other side, the past, a memory, our subconscious. It is the same for Illogical Dance, a set of transformative songs that taps into our most primal instincts.

The human voice is our oldest, most primal yet most powerful instrument. I use it to describe nature's many sounds, a language that isn't logical. Yet it forms a beautiful conversation that isn't restricted to words like the human language is. I want my music to remind us of that.' — Hatis Noit

Wanting to interpret and mimic the sounds Hatis Noit hears in nature, Illogical Dance is as unpredictable, beautiful and mysterious as the world around us. Each track is made up from multi layers of vocals, all improvised and without words, before being carefully pieced together. Astonishingly no samples are used throughout, even the sound of crushing leaves came from Hatis Noit's own vocal chords.

The result is a stunning array of sound sculptures that see her switching between multiple styles with great ease. From the sweet operatics on Illogical Lullaby, the manipulated vocal loops duplicating electronic production on Anagram c.i.y. to the primordial chanting call to arms of Angelus Novus, a 10-minute odyssey that features whispering and leaves crunching, it showcases Hatis Noit's full range and introduces a truly original artist.

Previously only available in Japan, Illogical Dance will receive a worldwide release on 23rd March 2018 including a first edition on 12' vinyl. After participating in a ceremony for memorial and appreciation tailored to the withdrawal of the evacuation area in Fukushima on 31st March 2017, Hatis Noit collaborated with renowned visual artist Nobumichi Asai on a project titled INORI (prayer) which they premiered live as part of an Erased Tapes showcase at Mutek Japan in Tokyo.

Having recently moved to London and performed a first string of UK shows, followed by a special live performance at the Milan Fashion Week and Mutek Japan appearance, Peter Broderick has invited Hatis Noit to support him at the Jazz Cafe on April 15th. She's also been announced as part of this year's Sea Change Festival line-up, and asked to participate in a workshop with the London Contemporary Orchestra.

Pacific Coliseum lends his craft to Church under new alias PC.

Euphoric biz on the A, with a deep snip on the B.

Faitiche releases the album Improvisations And Edits, Tokyo 26.09.2001 on vinyl for the first time. For the original 2002 CD on Soup-Disk and Sub Rosa (Audiosphere), Jan Jelinek and the Japanese trio Computer Soup (Satoru Hori - trumpet, Osamu Okubo - toys & electronics, Kei Ikeda - toys & electronics) presented eight tracks all recorded one afternoon in the trio's living room in Tokyo. They are excerpts from a joint group improvisation that subsequently underwent rudimentary editing, on which Jelinek and Computer Soup worked separately.

Jelinek met the three musicians at his first concert in Japan in 2001, at Tokyo's Yellow club, where Computer Soup performed as the support act. Delighted by their free improvisation on pocket-sized electronic toys, trumpet and oscillators, he arranged to meet Hori, Okubo and Ikeda a few days later for a session at their apartment. The resulting three-hour recording, made on their living room floor, formed the basis for Improvisations and Edits. A few days later, Jelinek returned to Berlin. Over the following months, they separately chose passages from the recording that were then edited and assembled into an album.

Formed in Tokyo in 1996 as a quintet (including Shusaku Hariya and Daisuke Oishi), Computer Soup began by performing with acoustic instruments on the streets of Shibuya. Ikeda und Okubo soon switched instruments, and from then on the group's minimalistic but densely woven sound was defined by electronic toys, oscillators and Satoru Hori's trumpet. Their first album was released in 1997 on the Japanese label Soup Disk. Eight further releases followed.

From the reviews of Improvisations and Edits, Tokyo 26.09.2001 in 2003:

"The mind-blowing first track Straight Life is perhaps the best example of what the album has to offer. Jelinek's trademark smears and washes occupy the midrange, like ghosted images of Joe Zawinul's electric piano floating quietly in the wind. DSP jazz modes are set against a walking bassline (possibly computer generated) and a gently tooted trumpet complete with Harmon mute, a dead ringer for Miles Davis' Prestige-era ballads. The effect is something like a three-dimensional film, with different realities on each layer, images of what jazz was manage to interact with a real-time demonstration of all it could be."
pitchfork, 2003

"Improvisations and Edits is a warm and mellow Ambient release with beautiful glitch fragments, static noise bursts and real trumpet intersections. However, there are times where it is the exact opposite, mainly effect-laden, overdriven and bouncy with a lack of melodies and focus, so be aware of these specific tracks."
ambientexotica, 2003

"Often deliciously dreamy and hazy, Improvisations and Edits is like listening to an exceptional instrumental jazz performance while half-conscious or under some sort of chemical influence. Computerised blips and bleeps, loops and treatments and murky sonic skips curl up around desolate horn notes and scattered instrumental noises that culminate in elegant music."
exclaim.ca, 2003

Following on from OTIS002 Jon & Hugh - Another view, one half of the production duo and OTIS label boss Hugh B steps out on his own for OTIS003. Floating On a Trippy Biscuit is a 4 track excursion through deep textures, roaming drum machines, sliced breaks and dub echoes. With a nod to early Jungle duos (RIP), a psychedelic love letter to UK Broken Beat, a remix from OTIS family member Sean Thomas that pays respect to the UK Deep scene of the late 90s and a deep, valium-laced House groove designed for post-rave reflection. OTIS003 is a dreamy meditation amidst the occasional chaos of the rave, a blissful trip through the styles of 'dance music' this label holds dear.

Early support from: Ben Fester, Simon Caldwell, Adi Toohey and a load of other selectors that are keeping it deep in twenty seventeen...

This first release on the new label is from Shamos - a collection of demos and ideas for the last few years.

Crying Bamboos is a translation of the pidgin description of the sound of sacred flutes: "Mambu i cry, i cry, i cry".

Sacred flutes are blown to make the cries of spirits by adult men in the Madang region of Papua New Guinea. Pairs of long bamboo male and female flutes are played for ceremonies in the coastal villages near the Ramu River. There are seven male initiation flute cries from Bosmun, four flute cries from Bak: Borai with occasional single garamut percussion and two flute cries from Kaean, one with vocals and hand drums. The flute players were of the last generation to have learned this skill during a complete cycle of male initiation. These previouslyunreleased recordings were made in 1979.

Recorded by Ragnar Johnson

Notes by Ragnar Johnson and Jessica Mayer

Photographs by Ragnar Johnson

Tape to digital transfer and mastering by Dave Hunt at

Dave Hunt Audio, London

Cut by Rashad Becker at Dubplates and Mastering, Berlin

In celebration of 20+ years since their classic debut Uptown Saturday Night, Bronx duo Camp Lo present a special double-album 2XLP with On The Way Uptown & The Get Down Brothers. On The Way Uptown features a collection of demos and unreleased songs made between 94' - 95', leading to their official debut in early 1997. Aside from the early versions of their hits Luchini (AKA This Is It),' Sparkle,' Black Connection,' and Coolie High', other standouts include World Heist', Coolie High Is Life' & A Piece of the Action'.

On The Get Down Brothers, Camp Lo completely pivot away from their 90's nostalgia into a much more futuristic and experimental sound. Although the production is different, their signature tongue-twisting and hype flows remain, creating a unique and seamless fusion packed into 10 dynamic tracks.

Since the release of their critically acclaimed debut album in 2013 on Names You Can Trust, La Mecánica Popular has quietly been contemplating the evolution of the group's sound, philosophy, and overall approach to making music. Band leader Efraín Rozas' experimental nature has continually pushed the boundaries of his own definition of not only Latin American music, but its broader relationship with music's global culture and history. The sound of "psychedelic salsa" that LMP helped capture in their debut was destined for further outside-the-box interpretations, and with the formation of a new quintet lineup over the last few years, LMP began to incorporate a more free, improvised and instrumental-focused performance of Rozas' increasingly radical compositions. The band subsequently took this liberated approach directly into the studio, recording Roza Cruz live, in its entirety. It was a cathartic experience, a necessary methodology for the new album's concept that embraced the intimate performance of its players and did away with standard techniques of isolation and overdubs.

The evolution of the band's sound on Roza Cruz brings forth a blend of styles rarely heard together, a touch reminiscent of electric-era Miles Davis or Eddie Palmieri at his most experimental, as the driving force of timbales and congas provide a bed for a wave of lush, analog amplification that mirrors the dueling leads of fuzz guitar and electric piano. But as far out as those instruments take the listener, the raw rhythm — the clave — always keeps it tethered to the earth and the dance, a cerebral yet visceral gift for the mind and feet.

Extra Noir is a coldwave, minimal synth and post-punk soundtrack based in South Korea. This is the first of a series of compilations, featuring artists from the hosts' three most recent homes - Scotland, Korea and Texas. Available on digital and limited release vinyl. About the artists:
Aadm Our Hatley is a Texas-based multi-instrumentalist who has played in a long list of underground Austin acts, such as Red X Red M, Attack Formation, Those Peabodys and Bangaar. He currently plays guitar in Chamberlain Greene and drums in Boss Eye. Straddling the dank border between industrial and no wave, Glasgow duo Total Leatherette also brings pervy disco fetish to their sleazy brand of mutant music.
Kübler-Ross is one of the many aliases of Glasgow electronic producer / remixer Dave Clark. A versatile and prolific producer, Clark has worked with JD Twitch of Optimo as one half of the Optimo (Espacio) remix team, played guitar in Badalamentian blues band Big Ned, and has been recently recording synth-based solo tracks as Kübler-Ross.
Comprised of techno producer Seonggu de Kim and minimal ambient artist Eajik, Airy Textile is a synth duo originally based in Seoul, South Korea. Their contribution to Extra Noir Vol. 1 marks their first release on vinyl. Tengger are an electronic psychedelic duo from Seoul, South Korea, comprised of Itta (harmonium and vocals) and Marqido (modular synth).
Texan synth wizard Xander Harris is one of the most influential artists in the 'horror disco' genre, and has consistently delivered tense, garish and unflinching journeys into the darkest domains of dance music. This track, 'The Velvet Hand', is exclusive to Extra Noir Vol. 1. Pecht is the nom de plume of a Manchester-based solo artist who retreated to the wilds of northern Scotland after years in the London entertainment industry. His self-titled debut album was recorded during his exile on the north coast. 'unlock' is Pecht's first release on vinyl. Cucina Povera is the musical identity of Maria Rossi, a Glasgow musician and vocalist originally from Finland. She is a collaborator in Luxos with Daniel Magee of Lo Kindre, and a former DJ on Glasgow's Subcity Radio. Her debut LP, Hilja, was released in January 2018.

"Hi again!

It's been a couple years, but I've put together a new record, this time with my neighbor Stu and a few other friends. Stu's been tuning the piano Linda and I were using for our Lejsovka & Freund and Trouble Books recordings, and I've always enjoyed the test scales and vignettes he would run through checking his work.

I floated the idea to collaborate on a sort of 70s/80s ECM kinda vibe, and soon started bringing my laptop and a couple microphones over to his house to collect his improvisations and have him add to pieces I had started. Other friends from the neighborhood dropped by to add parts here and there as well.

The recordings were made primarily in the summers of 2016 & 2017 (with a break in-between to mourn the triumph of neo-fascism as well as the passing of beloved pets). Ultimately I tried to follow the feel of those summer nights and the tranquility they offered. Open air or at least open windows, drifting along, you know"

-KF, Spring 2018.

Aqueduct Ensemble is a collaboration between Ohio based artist Keith Freund - who has previously released music as part of both Lejsovka & Freund and Trouble Books - and his neighbour Stu, who is a piano tuner and professional pianist. Their debut album together, "Improvisations On An Apricot" is the second release from label Last Resort, and follows G.S Schray's "Gabriel" (2017) - the sleeves for which were both designed by Keith, who does does all the art direction for the label. Beginning life in 2013 as an NTS radio show of the same name, Last Resort is run by Tom Cathcart from his home in London.

Having pinned to perfection the sonics of the Adriatic, Croatia's Love International Festival bottles up their blissed out rhythms and sunrise sessions for the inauguration of Love International Recordings, fittingly, with a first release from UK producer Begin.

Bringing the Love International feel to wax and digital, the label will encapsulate the range of music the festival's secluded party paradise has become renowned for. All the way from the balearic tinges of this first release, to the meatier house, techno and electro selections on show at Barbarellas.

Begin aka James Holroyd has a long history with Love International. Dating back to the early 2000s, Holroyd was one of the first guest DJs at the old Garden festival on the former festival site in Petrcane. Long serving Chemical Brothers tour DJ, Back to Basics resident since the 90's and Bugged Out co founder, Begin has long paid his paid his dues to the scene. In the words of Dave Harvey: 'he's been an absolute workhorse in dance music for time'.

Love International 001's tracks seemingly fit the festivals own daily lifecycle. From the docile guitar picking of meditative EP opener 'Wood Trees' to the slow daybreak funk of 'Daypulse' where synths pierce through the track like sun rays through the Adriatic dusk, the EP is a holistic reflection of what one might hear at one of the festival's fabled sunrise sessions. 'Garden Interlude' ushers in a fresh burst of energy, with the revitalizing sounds of piano house, paired with warming neo soul vocals. 'Into The Fun' is a self fulfilling prophecy, closing the EP on a quintessentially balearic note.

The Works of John B. McLemore, the star of one of last years biggest podcasts, S-Town, which is coming out on Dais. The story behind this release is truly fascinating.. the music itself is ambient remixes of Tor Lundvall's best works, but with John's idiosyncratic slant on them, with some having been woven together using the horde of clocks he use to keep in his basement. This story is really worth a read if you get a chance."In September 2012, I received an e-mail from someone named John B. who said he had assembled a lengthy remix of my music, which also incorporated some of his own material. John asked if I'd mind if he posted this recording on YouTube, to which I agreed. He also mentioned that there was a second part to his mix that was "roughed out", but never completed. I was curious to hear both parts, so shortly afterwards, John mailed me two CDrs which I enjoyed very much. The recordings were hypnotic and haunting, evoking images of vast fields at twilight. I was especially fond of the second disc which had a darker atmosphere and featured more of John's original material, beginning with ghostly clock chimes and ending with a mysterious piece using dried seed pods and other cryptic sounds that slowly built-up into an intense, almost claustrophobic environment.

My correspondence with John lasted about two months. In one of his final e-mails, John said "I have to observe that your paintings seem to have a great deal of loneliness involved in them... even multiple characters seem to be together alone, so to speak... I really appreciate looking at your paintings as well as your music, I think I have connected with the spirit of them both as much as anyone can." He went on to discuss his struggles with depression, caring for his aging mom and his concerns about the future. I tried to encourage his music as a possible outlet, perhaps as a means to help transform his feelings of loneliness into a more content solitude. Always easy to say, but as I well know, not always easy to do.

In his last e-mail in late October 2012, John sent me a beautiful slideshow of his Fall flower beds and his dogs. I was touched and I told him how much watching his video had brightened my day. That was the last time I heard from him.

Last year, I visited John's YouTube channel to see if Part One of his mix was still posted, which it was, and still remains. I was shocked and saddened to read in the comments section that he had passed away. The comments also suggested that John had received some sort of national attention recently. This quickly led me to the S-Town podcast. Although I had mixed reactions after listening, I was thankful that S-Town shed more light on John and his remarkable life... but somehow, I just couldn't place the person in the podcast with the person I had corresponded with. Had I not listened to S-Town, I would have remembered John as a very private, somewhat dark and lonely person. He may have been these things, but there was obviously far more to him than that.

After finishing the final episode, I decided to play the second, unreleased CDr of John's recordings for the first time in years. Listening to his clock chimes ringing in the dark was an eerie and chilling moment. I was reminded of a line from my song "29" which says "I live with dreams and a lonely mind, my clock is set to a different time". I wondered what those lyrics might have meant to him.

John had mentioned that he wasn't satisfied with his final mix, but I felt his work was too special not to be heard. I hope that these recordings offer another glimpse into the creative mind of a unique, complex and gifted individual who tragically left this world all too early."

Tor Lundvall
January 17th, 2018

JOHN B.'s NOTES:

This is what was intended to be the second part of my Tor Lundvall Remix series. Unfortunately I am dissatisfied with it due to a few defects, and it is highly unlikely that I will ever be able to complete it. Still it serves as a testament to my interest in the work of Tor Lundvall that I made it this far. Defects are as follows: The first movement is too 'fussy', and the first section of the fifth movement seems a bit long and may bore the listener, but since it consisted of so many slow moving textures, I don't know how I could redo it and still achieve what I was wanting to accomplish. Additionally, this recording was done just days before my Father died, and there are many feelings of guilt associated with the time spent on it. If you are receiving this recording, either you are one of my better friends, or you are a great admirer of Tor Lundvall, and requested that I send it to you.

1st Part: Basically a track of me fiddling around with old clock bells, and air turbulence mixed with Tor Lundvall and Field Recordings of rain, birds, cicadas, frogs and such.

2nd Part: My interpretation of Lundvall's Dark Spring. This track was inspired by the music of Carl Michael von Hausswolff.

3rd Part: Very ambient Field Recordings inspired by the work of Francisco Lopez.

4th Part: A Very Quiet passage consisting of delicate Field Recordings.

5th Part: Music performed entirely by me inspired by the Darker paintings of Tor Lundvall. Most of the instruments on this piece consisted of dried seed pods from the plant; Showy Rattlebox (Crotolaria Spectabilis), that I had collected and dried the previous Fall. There are other sounds from my own environment as well.

This mix was assembled in the Late Fall of 2003. There are some very Quiet passages in this piece, so it requires a nearly Isolated listening environment... It should be heard After Midnight, in the Late Fall of the year, and, not surprisingly, a Very Long Attention span is a Prerequisite.

John B. McLemore
September 10, 2012

Second pressing, 300 copies on blue marbled vinyl

The newest studio material of Steven Wilson's experimental drone project, especially recorded for Substantia Innominata series! Based on ethereal vocal choir material the four parts of "Sisters Oregon" reach transcendental beauty of the highest degree.

Much more than a mere side-project, Bass Communion could be regarded as Steven Wilson's discrete medium for manifesting his most daring, challenging and obscure musical ideas.

After a planning phase of several years, we can finally present the newest studio material of Bass Communion, a wonderful, mysterious experimental drone / ambient work that is mainly based on a recording of a boys choir (recorded at Air Studio in London 2014). Other sound sources or the meaning of the title "Sisters Oregon" were not revealed so much of this music is dependent on the listener's own imagination.

The four parts on this long play 10" are filled with sonorous drone expanses, tiny microsounds, deep bass eruptions and sudden breaks, ranging from an otherwordly subtleness to a most spacious finale, reaching a transcendental beauty of the highest degree.

Second pressing is limited to 300 copies on blue marpled vinyl, with full colour sleeve feat. stunning artwork by Carl Glover, underlining the mystery of this release.

rRoxymore returns with the latest instalment in her Thoughts of an Introvert series. The first part, which hit stores in 2017, was born out of introspection and a yearning for solitude. Tracks like 'Prodrome,' which refers to symptoms indicating the early onset of an illness, seemed to reflect a global weariness, a head-nodding, late night search for comfort and respite. On part 2 though, a new energy is evident in the tracks.

'This Is Not What You Think' shrugs and fizzes with resilience, it feels like a maniacal, primal release from frustration and anguish. 'Run... Feet' finds an even more optimistic, upbeat bounce, not far from the stomping house euphoria of her first outing for DBA, Organ Smith, but with the newfound confidence of an artist who is pushing both technology and style to the outer limits. 'Mythical Technology', meanwhile, is a dancefloor-ready paean to techno's own futurist manifesto.

Limited edition of 300 copies. Comes with printed sleeve and black innersleeve.

Stepart presents "The Curve": a dark and intense EP which blends influences of UK Bass Music with the assertive sounds of Techno. The Parisian producer demonstrates his skill and versatility, as this EP takes a sharp turn away from his previous style of music production. Featuring his signature combination of lugubrious bass and unpredictable drums, Stepart reveals a late night sound palette which places his music at the heart of the club.

Using a modular system comprised of Make Noise modules (as well as a Prophet 5 synthesizer), Kaitlyn Aurelia Smith created Abstractions as a live score for the film of the same name by visual artist Harry Everett Smith. Comprised of a single track across the record's two sides, Abstractions presents a unique experimental release within Kaitlyn's stellar catalog of contemporary electronic music. This Make Noise Records release was Digitally Mastered by Shawn Hatfield at Audible Oddities
Pressed to 12" Clear (140gm) vinyl and inserted into a black inner dust sleeve and Matte Jacket featuring artwork by Harry Everett Smith (comprised of film negatives from Abstractions, licensed from the Harry Smith Archives), assembled by Sean Curtis Patrick.

Wave Stu might just be the Platonic ideal of icy, emotionally fraught synth-pop. On his debut release for Origin Peoples, Stockholm-based musician Michel Isorinne puts paragons of this style like Orchestral Manoeuvres In e Dark in his slipstream. Laced with spoken-word passages from films and television shows, Wave Stu weaves a loose tale about the nature of time, physics, and mortality that can be summarized by the key phrase, uttered by a woman scientist somewhere throughout the album, 'magic is in the molecules...'

Isorinne essentially creates introverted minimalist symphonies in which sprightly synth leads peacefully coexist with melancholy, drone-y undercurrents. Throughout the record, Isorinne's melodies bear a fruitful contrast between the morose and the jubilant. He repeatedly places exceptionally delicate and beautiful tunes amid subliminal waves of pensiveness. It truly is a masterly balancing act. e zenith of this approach is Side A's closing track, in which gorgeous countermelodies intertwine like lovers on a tropical beach while a pistoning rhythm pumps up the libido. It's instant paradisiacal bliss.

Side B contains Wave Stu 's most cheerful, uptempo track yet it never bursts into full-on euphoria. Elsewhere, Isorinne reverts back to more somber moods: an eerie, methodical chiller full of quiet wonderment and subdued sparkle reminiscent of Casino Versus Japan, Plone, and others of their gnomic ilk; a low-key anthem in which '70s Vangelis grandiosi meets the workmanlike bass-synth chug of Ulrich Schnauss; an elegiac piece that conjures an intimate majes ; a bass-heavy dirge festooned with forlorn wisps of melodiousness.

The complex, paradoxical happy/sad pendulum at the heart of Isorinne's music lends Wave Stu a tingly resonance that will reward repeat listens. Please welcome an extravagantly rich synth-pop classic.

Glyn Bigga Bush has been producing electronic and sample-based music since the early 90s when he formed Rockers Hi Fi, going on to release numerous albums. Since the turn of the century he has produced and DJ'd as BiggaBush as well as various side projects such as Lightning Head (Sonar Kollektiv), the Dandelion Set (Buried Treasure) and the Magic Drum Orchestral (Tru Thoughts).

Bigga's latest project 'Sunken Foal Stories' represents a departure from much of his other work in that it is not primarily based on beats. Instead, his working method was to go with fascinating samples, accidental juxtapositions and irregular loops - inspired by pioneers of sound such as Faust and the audio experiments of Julian House as well as early stereo test records, soundtracks and library music.

The 21 concise tracks of Sunken Foal Stories link into two 15 minute segments on the LP. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing. Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and carboot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and 'glamorous' soundtracks.

Welsh producer Odeko first appeared on Mr. Mitch's forward-looking Gobstopper imprint with the A.I. influenced EP "A History With Samus" in 2016 immediately snagging a "producer to watch" tag from Fact magazine and a premiere at SPIN. In early 2017, his second EP "Digital Botanics / Construct Conduct" arrived confirming his sound and setting the stage for him to start working on this - his debut album "Rose Tinted Vision Implant" that is set in a post-Ballard, post-Gibson, post-Miéville, alternate reality. "Rose Tinted Vision Implant" sees the Bath-based producer creating a cutting edge sonic world inspired by "speculative fiction, time/reality shifting stories and dystopian shit." The entire record is structured around, and expands upon his passion for the "future," underpinning the music via a underlining narrative. "Rose Tinted Vision Implant" starts with "The User" (aka the listener/ protagonist depending on your perspective) of the 'Optic.Rose' going through the process of getting an implant is made by a mega corporation, (think "whatever Elon Musk's legacy will be 200 years from now" says Odeko "not necessarily evil or good, just a world owning superpower."). And then we follow "The User" who has unfortunately received a bad egg through stages of that devices degradation. Sonically we're there to observe. We open ("Anomaly Detection") with a precursory scan and move onto installation ("OpticRose_0_1_Installation")
through to a battery change and a recalibration. From this point, the 'presence' begins to take over the implant and the tracks verge into a more cerebral range. Odeko notes "its a bit of a satire on corporate brands pushing these great products that everyone is obsessed but that are detrimental to both the world, and how we perceive reality. Our relationship with social media and tech could go down a dangerous path if we loose sight of things. I'm going quite far here for the sake of the concept, but things like VR, AR, the want for body tech, mixed with our desire to be connected, emotionally, digitally, physically, wirelessly could lead us to a world where everyone has implants, or some kind of tech built into them." Sonically its a record that explores a post-IDM, post-Grime, post-Ambient, post-Glitch, post-Retro-House, post-Instrumental Grime, take on electronic music, like Gobstopper's Mr. Mitch himself and his label mates Orlando, Lloyd SB, Tarquin, Clu, rAHHH and Loom, Odeko is making a kind of post-genre music. Yes it's a cerebral concept under the music but as popular shows like Black Mirror have shown - critiquing our new future can be fun, unusual and highly rewarding. Welcome to the world of Odeko.

On "down In 1150" Vienna Based Crate Digger, Producer, Dj And Secret Crunch Head Honcho Roman Rauch Pushes His Distinctive Style Of House Music Forward. The Ep Eatures 5 Tracks Of Pure Funky Vibes, Rugged Beats And Catchy Vocal Sampling. Check "don't Tell" On A-side For An Euphoric Soulful Opener, Or "bumble Beat" For A Slower, Groovy Disco House-pleasure. Catchy "don't Know" Gets An An Exzellent Remix Done By The One And Only Intr0beatz From Island. In The End "down To Love You" Features A Funky Bassline Zapp & Roger Would Be Proud Of.

It's a pleasure to get behind your friends from around world, in fact that's the motive behind the breadth of the ESP Institute catalogue, but its truly a special feeling to represent your friends and your neighborhood at the same time. Producers Sonns (Alexandre Mouracade) and the mysterious Venice Beach native Tavish Graham are both long time friends of the ESP Institute family, we break bread, we take care of each other, and we cherish our collaborations more than anything, but we're also neighbors. That said, ESP is proud to announce a homegrown endeavor, the debut of Sonns & Tavish. The two have long been stewards of the Los Angeles underground, but after loads of early morning banter and the camaraderie that comes with this smoke'n'strobe life, they've now committed their singular vision to print—two epic cuts that make us proud. Side A's title track Trycksaker is a thumper, a mid-tempo big-drum-laden beast that chugs the whole way through carrying an array of eerie bleeps and fleeting sighs. Side B's Roguish Days pulls together influences from various corners of the pair's DJ repertoire, gelling a wicked breakbeat with a wormy acid bassline and even more exotic sighs, something that might possibly grow into a signature of sorts. This release is ready just in time for the Spring/Summer exploits, and we couldn't be more proud to finally enjoy hearing these heavy-hitters in the club. Tip!

7"

* A welcome reissue of a UK dub favourite dating from 1995.
* Features the voice and some fine bongo work from the man like Bongo Zebby alongside the Dub Crusaders collective.
* This originally appeared on the Jah Works LP `Universal Spirit Warrior, but has been long since deleted.
* `Drum Talk' is a wild dub cut to `Readings from the Book of Life'
* Mixed and produced by Rej Forte.

AB SYNDROM, the Berlin Duo, is coming with their third album. PLASTIK is a bit like the coming of age album of the band. It tells stories of growing up emotionally and being played into a hard and post capitalistic environment. Nevertheless you will find some quite romantic lyrics and songs between lyrical metaphors and a rough and urban reality in Berlin Neukölln, their neighborhood. The music on PLASTIK is mainly a percussion driven and electronic laden journey. Not your average pop arrangements but subtle compositions and laid back vocals with a certain chopped and screw twist. The bands musical projection is a most consequent advancement of their three albums and their body of work so far. Bennet Seuss, singer and composer is defining his own style in writing autobiographic lyrics with a certain twist to the obscure and umtransparent. A great album for sure. Tracklist LP A Seite Keine Geister Feng Shui Patchwork Waterboarding U8 B Seite FFM Fake Starring Contest 2009 Hattori Hanzo Schwert Deephouse und Tiefenrausch

Orlando Voorn is back on Tarvisium Electronique with 'Secret Society,' a mysterious, obscure and psychedelic EP exuding the essence of Detroit techno. Side A of the vinyl features the title track in which Voorn melts the analogic rhythm with a spectral melodic pattern. Side B features two tracks; 'Playing for keeps,' a techno bolt of lightning bound straight for the dancefloor and 'Rush,' a track characterized by a mechanical, analogic and highly experimental sound.

To conclude the EP the label manager, Steve Lorenz, has composed a remix of 'Secret society' with an avant-garde fusion of minimal, acid and Detroit techno.

Martin Hübner A.k.a. Mh, Who's Been Around As A Dj / Producer For More Than Twenty Years, Has Fulfilled A Dream For Himself And Fans. Mh 2018, His First Vinyl Record. On The A-side, He Presents Two Club Remixes That Will Surely Convince Even Discerning Musician's Ears. Friends Claim, Sing Sing Will Be The Club Summer Hit 2018! The B-side Surprises With Two Mh Compositions. Vocals Are Presented By Two Ladies, Who Couldn't Be More Different. If Struggle Immediately Associates You With James Bond Movies, Eyes Crossed Surely Fits Into The Festival Category.