quête:filter

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

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

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



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



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

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

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

Musique par Andrew Chalk & Timo van Luijk

avec:

Tom James Scott - piano

Jean-Noël Rebilly - clarinette

Daniel Morris - guitare pedal steel

Mastered & cut by Rashad Becker at Dubplates & Mastering, Berlin 0417.

Having been entranced by both Andrew Chalk's work with MIRROR (and back to his solo works as FERIAL CONFINE, plus multiple collaborations with David Jackman, The New Blockaders, Daisuke Suzuki, etc ) and Timo van Luijk (as Af Ursin, In Camera, La Poupée Vivante, and collaborations with Kris Vanderstraeten and others) for many years, I was naturally intrigued to hear about and hear their duo project ELODIE. The project formed in 2010, and has spanned eleven beautiful albums already, to date.

"Vieux Silence" for Ideologic Organ is their first release presented outside of their own record publishing nook, Faraway Press & La Scie Dorée. However this is not the first encounter between Ideologic Organ & ELODIE, they performed at a night in London I curated in February 2012, alongside Jessika Kenney & Eyvind Kang. Elodie's performance was among the most delicately engaging and savant I have witnessed... so very quiet, with snow falling in London outside Cafe Oto's windows, the audience palpably entered a high intensity listening focus. The impression of this vivid memory is striking, considering how spare each of the individual elements present that night were.

"Vieux Silence", and ELODIE in general provoke a visual imagination in an instant, perhaps filtered through aged watercolour, tape grain, antique lenses, forgotten levels of listening and observational patience. On this gorgeous album Chalk & van Luijk also collaborate with piano, pedal steel and clarinet (played by , Tom James Scott, Daniel Morris and Jean-Noel Rebilly, respectively).

Each detail carefully considered and colouring step by step, like an impressionist watercolour.

- Stephen O'Malley, Les Lilas 2017

Sparse and reflective, the Chicago native's work occupies a curious space on the periphery of the Techno genre. By stripping back the music to all but its most vital elements - most notably the Sequence, but at the same time maintaining a sense of urgency in its articulation, Litüus crafts exquisite, ghostly shadows of busier, more fleshed out material. Neither intro nor outro, but rather suspended in some middling point of formation - what remains is a remarkably pure examination of minimalist, experimental synthesis.

The enigmatic producer first appeared on the label with19805.-19905 - a collection of reduced hardware sequences released on cassette and 12" in 2015 and 2236 s Wentworth ave continues in much the same vein, though perhaps exploring a marginally more traditionally 'musical' sentiment. Nods to 1970's sound designer Irv Teibel's Environments series sit alongside more overtly contemporary structures, and the mood shifts gently across the recordings - from a low slung, pulsing anxiety to a gentler serenity via heavily ring modulated bells and spring reverbs, softly warping percussion and careful bandpass filtering.

Litüus creates music that is geared neither towards home listening nor the dance floor, but that exists somewhere in between - quite where exactly remains part of the the artist's undeniable allure.

Following some ear-catching manoeuvres across releases like last year's self-released 'Only' and 'Lagata', which gained her early fans like Bjork and Dev Hynes (who she supported in the USA), 'Tommy' marks Klein's deepest plunge yet into the deep, dark ocean' of her musical imagination on her Hyperdub debut. On 'Tommy' her vocals play with Fifties-esque melodies before switching to familiar tones akin to Brandy and Rodney Jerkins, her live voice and live piano playing filtered through hyper-glitchy and looped production with a loose, internal logic, cutting from angular atonality to pockets of skewered harmony. 'Tommy' also steps things up in conceptual terms. Its eight tracks are broken down into acts that are rooted in themes of vulnerability, sisterhood and death, threading the chaotic sonics with modern operatic undertones and a Shakespearean sense of tragedy. There's a lot of bluster about originality in contemporary UK music and what rises from the noise here is a creative voice who, by her very nature, plays with the construct of what pop is. This is Klein's world ... it's on us to get with it.

The annual Deep Love compilation has become one of our most important releases to showcase what Dirt Crew Recordings is all about. It gives us the chance to highlight and welcome new faces alongside the residents who keep the Deep music we stand for alive. This year more than ever we have artists from all over the World, from Japan to Canada and Lithuania to Austria represented. The man the myth...Mr. Nightcrawler himself is back with another masterpiece. True to his usual unique blend of many styles, Nachtbraker has delivered typically off-kilter 'Cobi Cabani' with crashes and sound design that punctuate a freaky bass and rippling lead. Dropping in for his debut outing on our label, Viennese resident of Sass club and founder of the 'Secret Crunch' imprint, Roman Rauch brings the filtered Disco House. Ripe with fruity percussion and deeply ingrained groove, 'Sweet Ears' breathes and builds keeping up energy to work bodies throughout the cut. Close friend of the Dirt Crew family and member of Detroit Swindle's Live super group, Lorenz Rhode is an extraordinary artist who's not only active in the House Music scene but also created his own Big Band, the Rundfunk-Tanzorchester Ehrenfeld. He gets right to it in 'On Top' a legit live key and bass jam with all the funk from a seasoned jazz musician. From across the Atlantic we have Toronto's Jesse Futerman teaming up with Dan Only, Jesse remixed Harry Wolfman's last EP on DC and is known for his laid back house grooves.

Die klingt genau so, wie sie heißt: farbenprächtig, schwurbelig, episodenhaft und manchmal richtig schön beknackt. Siriusmo nistet sich auch mit seinem dritten Album wieder an seinem ganz eigenen Plätzchen in der elektronischen Musik ein, indem er alle möglichen Stile und Vorlieben durch seinen persönlichen Filter schickt, notorisch tiefstapelt, maßlos übertreibt und immer auf dem Punkt landet. Siriusmo ist der Vordenker, der gar keiner sein will. "Comic" ist ein perfekt unperfektes Selbstportrait und enthält - in des Meisters eigenen Worten - "14 bunte Geschichten zum Selbstausmalen. Aber keine Bange, diese Geschichten erwachen von ganz allein zum Leben. Vergleiche sind überflüssig, nur einer drängt sich auf: Sowohl melodische Vintage-Electro-Romanzen wie "Dagoberta" als auch fuchsteufelswilde Arrangements wie "Bleat" ziehen Parallelen zu alten Squarepusher-Platten. Statt Jazz und Jungle bestimmt bei Moritz eben die Berliner Sozialisation den Sound.

New Yorks' Matuss returns with the eighth release on her Absence Seizure imprint this September, comprising three originals from the Ukrainian born artist.

Julia Matuss, better known as simply Matuss has been steadily carving out a name for herself over the past decade, initially finding her feet as a prominent DJ in the Ukrainian scene she grew up in before a move to New York saw thing progress and the launch of her Absence Seizure imprint shortly followed. Now eight releases deep the imprint has piqued the interested of DJ's such as D'Julz, DJ Deep, Derek Plaslaiko, TWR72 and Beaner.

Taking the lead on the package is 'Fairy Dust' setting the scene via warbling Rhodes chords, raw dub sweeps and a pulsating low-end drive before a spaced out, sinuous resonant synth lead ebbs and flows throughout the focal point of the composition.

'Baelfire' follows and strips things back to raw percussive feel, employing thunderous claps, a weighty kicks and sweeping filtered sample as the foundation before the latter half of the record works in a frenzied acid-tinged hook. 'Faramant' then closes the package with an amalgamation of organic percussion, natural bass licks and glitchy percussive chimes which all subtly evolve and retract throughout.

We at Finale Sessions are excited to have French producer Anaxander and Finale Sessions owner Michael Zucker together for this deep house jewel ! We start with Anaxander and his track "Stabs Of Love" One of the best tracks on the Ep with drums from another planet and its stabing chords the permiate the dance floor ! and wicked hi hats that shread through this massive track . Then we move to Anaxander's other track " Heart To Heart" which gives this record a sense of deepness with it's percussions and its rythmatic keys Then we move to Michael Zucker's first track "Greator Is He" another jem off this massive ep and we start with the melodic keys and pads that give this track a very persusive sound and a very potent late night dance floor killer top to bottom. Last but not least we have Michael Zucker's " Missing You" this one is a floor stomper for sure with hard kicking drums and its filtering keys and its punch love dub sound which gives this record the hardness to stand its ground...

Sound does not usually come from a single source. Emotions usually do not come from a single source. The way we perceive is by filtering. Within this complex process there are many difficulties to overcome and many discoveries to make. How long is the club inside of you - after you have been inside of him How do Love, Soup and Beer choices affect your daily life And what do an Island and an Airport have in common By morphing real life situations into musical phantasies Mr. Tophat tries to find answers to these and many other questions. Along the way there is darkness but also fun and hope.

Following on a trio of successes with established talent, for our fourth release MANHIGH takes an excursion to lesser-known regions with experimentalist Desroi. Previously known from EPs on his eponymous imprint and Total Black the German newcomer quickly caught our attention. Beginning with the opener, 'Indifferent', we are introduced to his heavily sculpted, hypnotic sound world, where a rolling, repeating rhythmic framework is echoed in the higher registers with heavily-filtered delay loops, and a melodic lead line taken deeply into dub provides both a centerpiece and the basis for many other elements. Another relatively new talent currently rising quickly to wider notice, Phase Fatale's relaunch of 'Indifferent' stays resolutely in his own world, a grinding, banging amalgamation of distortion, punishing in its resolve and propelled by mutated elements of the Desroi's original piece. His idea of 'Apathy' invokes entirely more aggressive emotions than the word's conventional usage, tightly winding bleeps around a rigid sequence kept in motion by constant effects and sporadic drum hits, which then transforms at is halfway point with the entrance of harder kicks driven by an open hat. 'Sopor' induces trance states more than it does sleep; sophisticated applications of delay effects and patient acid combine for a deep, inward-looking hypnotic state with momentary shifts in rhythm and color evoking the ephemeral nature of dreams.

Lucretio´s first solo release on Memento, the 'System Pressure E.P.' is a piece of carefully handcrafted nightclub music.
The late-hours anthem 'Addict to the dancefloor' combines the early 90s heart-felt grooves with the state of the art of contemporary electronic production.

'2bpad1' is a relentless ride of voltage controlled oscillators and hexadecimal quirks over hefty bare drums processed with a juicy analogue filter.

Finally 'Love don't leave' bring back together House and Techno, melting their rhythm and blues essence into an absolute peak-time conjunction.

Camea returns with the third release on her Neverwhere imprint, titled 'Vanish', this Spring. In her new single, she digs deep on her drum machine into Studio 1-esque territory, using alluring classic minimal techno grooves as a back drop for her seductively soulful, selfconflicted vocals. Camea not only captures a timeless micro-house vibe in this piece, but she continues to push her sound forward as well as her love for avant-guard techno. Up next is Delft imprint boss, LA-4A, best known for his analogue vintage Roland drum machine productions. He has laid down an irresistible 303 break-beat club mix of Camea's track in the A2 spot. His dance cut of her vocals over bass driven percussion is a perfect counter piece to the original, and compliments the sound from his recent acid techno album 'Phonoautograph'. On the flip side, Berlin techno legend and Ostgut Ton/Berghain resident Tobias. gives his graceful interpretation. He has reworked the original into a tasteful, dark, spacious 8-minute minimal techno piece, with percolating panning and filters on the vocals. As usual with Tobias., he clearly conveys his undeniable expertise and instinct for exquisite dance music. With this release, Camea is also marking the 2nd anniversary of her cult Neverwhere Radio show this Spring, having produced twenty-four, two-hour episodes with exclusive DJ mixes and guests. The show currently has residencies on Digitally Imported, Tsugi Radio and Ibiza Sonica, and Camea has quickly established herself as a driving force in the left-field techno community, and a passionate advocate of underground radio.

Post Scriptum is the latest artist to join the Sonic Groove Records roster.
Previously releasing on Function's legendary Infrastructure imprint, Post Scriptum changes gears stylistically in a very big way with his latest release entitled Until You Drop. Leaving his previous looped based purist Techno behind, Post Scriptum takes his sound exploration into the much darker cavernous world of Industrial Techno.


Dark As You Like starts off this musical odyssey with a fierce mid tempo, broken beat groove. The rhythm emits the real feel sensation of live played drums with its hard smashing snares and deep booming bass kicks which surely will have you play the air drums! Layered on top of this beast of a rhythm track, Post Scriptum provides the perfect lyricism with a smooth spoken narrative. Very forward thinking sound design curves its way in and out of the dark negative space the rhythm and vocals provide. Without imitation or sounding even remotely retro this evokes the feel of early Nine Inch Nails and Ministry.


Drop Zone is a highly intense workout with it's pulsing staccato bassline and crackling filtered out lead line which builds into a growling beast of riff that will completely consume the listener. You Won't Find Me (Short Mix/Long Mix) takes things further into the post contemporary realm of present day Industrialized Techno with complex, bass heavy drum rhythms, slicing and dicing their way through a darkened acidic atmosphere of time, space and sound.


The joining of Post Scriptum and Sonic Groove Records is the perfect match with this beautifully crafted Techno-Industrial hybrid EP, a banger for the dance floor but also a delicious delicacy for your home turntable or music player.

Never one to rest, our pal The Revenge has been busy as always. His latest LP as 6th Borough Project Find Your Rhythm' recently dropped on Roar Groove, he created a beautifully delicate remix of Auntie Flo's Waiting for a (Woman)", had a change of scenery relocating from Scotland to Denmark and his collab EP with Dirt Crew, flush with Nachtbraker remixes was one of our biggest records of 2016! Amongst the action he's taken the time and a more in yer face' approach to write us his latest EP, a four-tracker of proper club tracks. Every Night' brims with raucous disco energy. The French Filter House' reminiscent gem's strings shimmer and funk horns hit heavy, a jam destined to wear holes in shoes. Grit' attends to the easy-going Disco grooves we love so much from The Revenge, plenty of shake and soul it's overflowing with good-mood energy. B-side opener Never Learn' gives us a glimpse of the darker end of The Revenge's spectrum. Subby toms rumble, tweaked out synths bleep and slide and delayed key stabs shift the party into smoke hazed, underground rave mode. The closing track Krokodille' brings that Bass n Electro gritty booming sound! The acidic lead wraps around sturdy drums. Straight forward with plenty of kick, what an ending to a high quality EP!

With 44 releases across 12 years since its inception, Butane's infamous Alphahouse imprint closes its doors this June as he welcomes long time colleagues and friends Alexi Delano and Worldline to shape up the final EP on the label 'Omega'.

Having established the imprint back in 2005, Andrew Rasse aka Butane's Alphahouse has served as an example of unapologetic underground quality and curation for over a decade. With previous releases from the likes of Ricardo Villalobos, Ryan Crosson, Ion Ludwig, Quenum, Mark Broom and of course Rasse himself, the final Alphahouse EP welcomes back another staple of the imprints success, Chilean Alexi Delano, and mysterious American talent Worldline who marks his debut on the label.

'Sometimes in order to grow, you have to leave things behind. It's time for a fresh start... the final Alphahouse record. Alpha/Omega' - Butane.

The A-side sees Delano and Rasse effortlessly re-combine and pick up where they left off in 2013. 'Bass Theory' is an energetic, blooming production that lays the focus on raw crunchy drum licks, chunky bass slabs and an ever- evolving melody that eases listeners into a state of trance, before 'Jazz Lick' reveals a lighter aesthetic with a delicate jazz-infused lead line, filtered vocal loops and crisp organic percussion that hold the production in sync.

On the flip Butane is joined by a new collaborator, Los Angeles-based underground fashion designer Worldline for two brooding cuts. 'How Deep' kicks things off showcasing eerie low ends layered beneath tripped out vocals and hypnotic, meandering chords. 'What We Do' wraps up the esteemed Alphahouse catalog in style. An underground manifesto with a trademark Butane groove and Wordline's vocals punctuating over a decade of work. That's a wrap.

In true Alphahouse style, Rasse signs off here alongside two extremely talented artists with an EP that radiates understated sophistication and intricacy throughout, whilst opening the door to his new project 'Extrasketch' in the most fitting and suitable way imaginable. Stay tuned; this is only just the beginning...

Following the 2 previous sell out singles on Reed Records Mohawkestra return with a third salvo of the British Invasion flavour Funk! 'Heart Full of Soul b/w West Coast Boogaloo' available on 7' vinyl and download.

Heart Full of Soul was originally recorded by legendary British group The Yardbirds at a point when Jeff Beck joined and introduced Fuzz peddles and Guitar effects to their recordings. Mohawkestra's arrangement is an instrumental burst of heavy Organ and Guitar driven Funk that we've come to expect for their version and again they don't disappoint!

The flip side is a Mohawkestra original titled West Coast Boogaloo which would be right at home in a Jazzy lounge in California in the 60's, perfectly capturing the West Coast Jazz sound filtered through musicians playing in a British basement studio with a 50 year delay.

It s time for Lewis Fautzi to introduce his first album on Pole Group, a collection of ten tracks of cosmic techno, carefully crafted making a soundtrack of the future, deep, intense and scientific.

Psycho path is the intro, made of granular textures, subtle drones and ambiences, stepping into Entering, pulsating sub bass, continuous sinoidal sequences, pads and tension.

Subconscious starts with the beat, opaque bass drum, micro hi hats, atmospheres and monotonous sequences at a low bpm rate while Diffracted speeds the tempo a bit with electric synths, flanges and twists creating an hypnotic number. Rentless pain follows, with resonant bleeps starring until assymetrical sequences appear and the synth lines evolve in a hi pass filter galore.

Seasick is humid and liquid, gummy sounds, clean drum programming, spaced out sounds and a lot of room. Then we come into Furrow, aimed to the intelligent dancefloors out there, synthetic bubbles, rolling sub woofer action , bleeps and noises. Cyclic Human reminds to the best scifi techno with bell like sequences, digital clicks, jazz harmonies and abstract progression.

Number nine is Optic Chiasm a direct number based on an obscure drum workout and filled with hi pitched relentless sequences, intelligently arranged to create a mental feeling as well as inducing to dance. Album closes with The Brain Revolution, like an evolution of Entering, beatless but still preserving the tension and the movement.

A coherent and complete collection of precise, surgical and futuristic music to be enjoyed as a whole adventure..

Richy Ahmed's Four Thirty Two imprint continues to shine a light on the freshest talent emerging from the house music underground, and on the label's third release, the London based Senzala get to flex their muscle on a fine release, backed with a remix from Ahmed and Jansons AKA Lovehertz.

Having previously released on the French label Mr. KS & Friends, and Politics Of Dancing, the Senzala boys, otherwise known as Jonni Santos & Sam Holland, deliver the goods once more on the 'Phase' EP.

The title track packs rolling 909s and looping filtered disco riffs into its punch; never letting the energy levels drop. Vocal licks and techno-laced stabs drive this club-focused track fantastically, with a glossy production that really shines through. Richy Ahmed and Jansons come correct with a Loveherts remix; a heavyweight analogue bassline dominated the mix and the vocal parts slide down the arpeggiated riff as incessant synth stabs ramp up the heat, taking their remix right to fever pitch.

The Senzala boys grind out more solid house grooves on 'All For You', deploying disco samples and vocals that are filtered and twisted around the tough drums to great effect, whilst on 'Agora', the mood remains unfaltering as feel good riffs and warm keys wrap around Senzala's steady beat to complete a stellar release that's packed with energy and infectious vibes.

Music is Love boss returns to his home label after a few brief excursions on Hot Creations & Viva Music last year, and he returns in style. 3 summer time slammers and a stella remix from the Mak & Pasteman boys. Middle Ground is a dusty filtered house track, aligned with a soaring string section, which narrate the warm uplifting journey this track lays down. Mandingo was made as a tool for Oli s sets last summer and after some huge reactions and some serious demand, Mandingo was set for a vinyl release. Big stabs and plenty of funk this track is party ready. On the flip we find Mak & Pasteman return to Music is Love after an appearance on the 3rd LOVEBOX VA in 2016. Piano4 is flipped into what these boys do best, Simple stripped back grooves delivered with stupendous power. On B2 is the original take on Piano4 which sees Oli flexing his power house muscles on this big piano track. Piano4 is an unrelenting beast that twists and turns its way through various passages of maximum intent.

After what can only be described as a storming start to their label, Luke Hazell, Ben Murphy and Elliott Owen continue the exciting evolution of their brand Music Related with their first vinyl release and it's nothing short of sublime.
This spring, Music Related makes its bold entrance into the ever growing vinyl market with a heavy dose of minimal and house cuts in the form of a 4 track Various Artists, EP. MRRV001 drafts in the talents of Salva Stigler & Dubquest, Pat Ondebaak, Duky and Manuel De Lorenzi, and it's easy to see why as these 4 artist each bring a unique flavour to this well rounded minimal infused record.
The listener is welcomed on the A side by Salva Stigler & Dubquest - 'Dead Men Tell No Tales', which teases dark techno elements with a rolling progressive baseline. Definitely a track for the later hours, this dance floor weapon is sure to send heads tripping with the dark eerie vocals taunting the equally as impressive clicky percussion.
A2 takes a more laid back approach from A1 as Pat Ondebaak's track Matter offers up a low slung dubbed out groove with a sprinkling of crisp skippy high hats and a highly seductive mix of low and high percussion elements setting deep in the mix.
As we flip the record, Deep Tech records head honcho Duky brings an absolute club banger in the form of 'It Takes One'. Built around an old school drum break this hypnotic hard hitting track seduces you with its repetitive vocal stabs only to find yourself slapped hard in the face with the powerful 4 or 5 note synth line. Built for the big systems this high impact track is a certified party starter!
Closing of proceedings we have Manuel De Lorenzi's slightly more house oriented 'Whole Night'. This deep groove conveys a sweet mix of bouncy baseline, heavily swung hats and rides with a spaced out mix of filtered chord stabs and pads. Manuel's warm up vibe really rounds off what is a brilliant entry into the vinyl market for Music Related.

This release is gifted by a special remix from someone who need no introductions today : Chris carrier aka Mr Georget delivers a dope remix of one of the track that Franck already released on Home Invasion called Yabba.. The idea was to give to our favourite remixers (cause we got some good guys coming up aswell) the freedom to choose one of the tracks that they really like from the label.Mr Georget gave us a deep and hypnotic feeling on this one and we already love it it here; that's why we choosed to press it has a 45 rpm full side to give him the best sound and dynamics. On the other side Franck give us 809, a track wich is the result of the sync between the 909 and the 808 together when it comes to speak about drum and some synths delighted by his own secret.
Bugz is a simple ruff track coming out from the MPC wich we can ear from the drums, and some stabs samples coming thru his Vermona filter and passing by some external effects.. in and out its all about the jam here J We hope you will enjoy this new Ep has the summer starts soon guys...
Of course no share has we do vinyl only.

"Daito" The Temple
Sub filtered kick delays deliver heart pounding bass, followed by spacious overhead sounds of nature, leaving the tubular synthesis builds up the tension. Featuring a melodic buildup, to get any dance floor calm, quickly to be filled with warm sub bass & soft percussion, ending with a clean mixable outro.

"Balas" Molecules (J. Manuel Destruction Mix)
A mechanically arranged techno slammer, with creatively delayed sci-fi elements, pounding broken beats & subtle, clean percussion, all coming together to dominate any dance-floor!
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.

"Projekt Gestalten" The Fight, The Victory, The Death
Starting with a slowly resonating acid line, medieval sounding pads add depth & progression, followed by a sharp snare & tribal tom, all ending in a galactic buildup, with the acid line adding the energy & the pads giving the track an ancient sound.

"Cristian Marras" Project to Escape
Hypnotic but also energetic, this is peak time techno!
The first hook gets your attention as the overdrive percussion builds you up to the breakdown. As the frequencies slowly change, the buildup arises, building up the energy levels ahead of the discreet drop, filled with high frequencies to put you into a state of trance.

Echoe returns for its first outing of 2017 and fifth release since starting in earnest last year. ECHOE005 marks the first remix package in the label's discography, offering up four stellar remixes of Francesca Lombardo's "Remembrance" song. A clear stand-out in the label boss's inimitable repertoire, "Remembrance" has been given the rework treatment by house and techno stalwarts: Cassy, Laura Jones, Jade and La Fleur.

Cassy offers up the first remix, focussing her reinterpretation around an enormous and insistent bassline, murky and dense in equal measure, that rolls from start to finish. Undulating hats inject further energy, doubling in pace strategically whilst complimenting the 4/4 groove. Utilising the originals' emotional resonance, Cassy creates soft textures and refined arpeggiated patterns, adding a further dimension to the track's impassioned narrative.

Laura Jones's remix comes in the form of a low-slung, jazzy drum work-out, adorned with sub-heavy kicks and a snarling low-end that offers much of the track's sonic weight. Gentle bell-like keys float alongside modulated synth stabs that filter in and out of focus, whilst Jones's drum programming becomes progressively more and more frenetic.

Jade's reimagining sees a broken beat take the reigns, leaving space for soft percussive rhythms and an earth shaking low-end that pushes the song into ghetto house territory. Hi-hat pick-ups and jittery vocal cuts provide further momentum before the groove lands on sturdy 4/4 terrain. Jade's deftly arranged breakdowns, punctuated by panned drum fills and granular FX, adds welcome tension to the track, making a return to rolling drum-patterns and buzzing bass-sequences all the more rewarding as they come back in.

The final remix comes courtesy of La Fleur who delivers the most peak-time, club focussed material on the package. Staying true to the original's hook, La Fleur brings melody to the fore, whilst deploying snappy drums alongside chilling atmospherics and tech heavy stabs, set to keep dancers moving into early hours and beyond.

1983, in the history of synths, is a key year. During the January edition of NAMM (the most important music fair in the US), indeed, MIDI - the standard protocol for electronic instruments interaction - was introduced to the world. Until then, programming and making synths work together was something practiced by a restricted elite of 'wizards", explorers armed with cables and analog patches, who could create new sonic worlds - but totally temporary, not replicable. Real superheroes of sonic synthesis, scientists of filters who, nowadays, are highly considered by musicians all over the world, after decades of forced exile. In Italy, the seeds of this tradition were planted in RAI's Laboratory of Phonology (in Milan), in the middle of the 1950's; later, pioneers like Piero Umiliani, Federico Monti Arduini (aka Il Guardiano Del Faro), Marcello Giombini, Giampiero Boneschi and Fabio Borgazzi (Fabio Fabor) introduced electronic music in pop. Fabor (together with Antonio Arena) is the protagonist of 'Superman", an album of library music released by the World label (owned by Minstrel group) in 1984. Borgazzi, born in 1920, lived through the whole saga of Italian easy listening music (from big orchestras to the digital revolution), always keeping up with the latest styles and trends. So it's not a surprise, here, to see him using a LinnDrum and the first Japanes synths; and it's perfectly natural to find some electro-funk touches

Matuss takes techno and turns it on its head. The cybernetic sound has been filled with human emotion, giving it a more organic feel than much of the music that would fall under the genre.She opens her Absence Seizure 007 EP in trademark style, with a dark jacking cut entitled Pitchureque, in which a pulsating bass line throbs alongside ominous acid swells and disorientating panning effects.Next up, Tektango takes a different route honing in on a set of live tribal tinged percussion, which sway and dissipate with hypnotic effect driven further into the depths with a bubbling synth lead and filtering atmospherics. This live percussion gives the track that organic feel mentioned earlier. Escapade kick starts the B-side with a robust rhythm, built from the ground up with resonant hi hat stabs, echoing claps and sturdy kicks which forms the framework for a deranged lead melody laced with wide open synths and emotive chords to carry the groove. Closing the package is Fonque, where flanger-tinged snare rolls work in unison with driving rhythms, delicate arpeggios and an intricate 303 bass line to create an infectious closing cut.

We at Finale Sessions are excited to have Mor Elians added to the Finale Sessions family . Mor is one of the younger generation artists that we have been keeping our eye on for sometime now. Hailing from Tel Aviv and now living in Los Angeles and Berlin and now travelling the world bringing her style of forward thinking House and Techno so let's get with the music and we start with the track " The Orionids " one of my favorites of the ep with it's bouncing drums and the industrial flexing pads and the filtering synth's that give it the deepness for day's . Then we move to the second track " Light Pollution " Another proper deep rendering if I may add and those high hats that just move the track into the proper scenic vibe, very minimal but to the point with the pads just poking its head out to go forth with the flow of the vocal . Last but not least we have "Echopark"this track closes out the ep with its very bouncy acid sounds and it's minimalistic drum patterns makes for a very melodic sound ....We at Finale Sessions want to thank you from the bottoms of our hearts and we love you very much

Four Thirty Two, the new record label directed and curated by Richy Ahmed, reveals its second release this Spring with a fantastic new single from Luca Cazal. Out on vinyl & digital in April, 'Be Alone' is backed with collaboration with Italian producer, Andrea Fiorito.
Cazal has previously released music on Crosstown Rebels, Classic Music Company and his own See Double label, and once again displays his house music credentials on this Four Thirty Two release.
His understanding of club music runs deep; knowing what makes a dancefloor tick is an essential skill for any producer, and Cazal's DJ residency at the Paradise DC10 club nights and regular gigs at Circoloco keep him firmly in tune and adept at carving out modern and fresh party moments.
'Be Alone' is an inspiriting, rolling house track that builds steadily over its tenure. A filtered vocal hook unfurls over tension building strings and nimble keys, the hi-hats assuredly rattling over rolling snare fills and with the energy levels never dropping, Cazal serves up a cracking club cut with all the hallmarks of a filtered house classic in the making.
The infectious house grooves keep coming with 'Manali', with Cazal partnering up with Andrea Fiorito (Cynosure) for a no-nonsense, heads down, acidic basement moment. An urgent bassline bounces around the locked groove whilst choppy vocals, haunting synths and energetic percussion all hustle for prime position in this lively and effective track.

Repress

After his warmly received digital release in our Aine Platform we are glad to introduce you the first solo Ep by Refracted in our label. This Berlin based spanish producer is a modular and analogue expert and this work is a perfect example of his scientific approach to techno.

Expedition 1 is the first cut: a tight drum kit and sub bass frequencies come along resonant sweeps and subtle drones in a non break arrangement that automatically leads to hypnosis.

The Exium duo takes over Expedition 1, reforming the frequencies, working wisely with drones and atmospheres preserving the pulsating feel below. extracting the mental spirit of the track in a continuously evolving structure.

Expedition 2 is a more profound number, low filtered components, again drones and atmos as fundamental ingredient until shuffled hihats add the needed movement to keep things on place.

Expedition 3 fattens the bass, and has a more complex synth approach while preserving the ambiental factor, the elements come in and out of the game wisely creating a profound but still danceable track.

A handful of cables, laptops and a few dusty machines are all it takes to make music. On Stiff Little Spinners Vol. 8 this is proven once again with seven exclusive tracks by Thomas Atzmann, Rampue, Kalipo, Krink, Paradise Hippies, Gimmix and Monopohl. The eighth edition of the Stiff Little Spinners compilation is ready for the next demolition party with a mix of modern deep house, slow jams & dreamy techno future classics. 01 Thomas Atzmann - Skagerrak After a longer release break, Thomas Atzmann delivers the first sure shot of this record. Skaggerrak convinces from the beginning with spheric ambience and tom-tom grooves, dissolving in a wash of big synth emotions. 02 Rampue - Der König und der Vogel King Rampue dishes out an A+ Slow Jam. Minimalistic in the beginning, this track leadsyou directly via screwed vocals to a cosmic breakdown of intoxicating emotions. All of it with a beautifully relaxed bpm. 03 Kalipo - Gernkraftwerk The manifold producer is on the ticket as per ususal - this time with a detroit-y neo trance attack. With the appropriate volume this tune can lead to loss of gravity. 04 Krink - Dazed This track is tuning feedback into filters and synth stabs in your face as if there was no tomorrow. Some tunes will always instill hope that's it's possible to dance forever and never go home. 05 Paradise Hippies - Prosecco Mate The last hippies of Hamburg bring proof that two rad dudes together make an extremely rad pair.

Visible Cloaks' Reassemblage is a collection of delicately rendered passages of silence and sound that invokes - and invites - consciousness. The foundation of the duo's second album is gently poured upon the ground their musical predecessors explored, using the materials of chance operations, MIDI translation,' and other generative principles that favor inclusive musical environments over the narrowly constrained.

In 2010, Spencer Doran, one part of Visible Cloaks alongside Ryan Carlile, prepared the first volume of Fairlights, Mallets, and Bamboo, a mixtape indicated by Doran as an investigation into fourth-world undercurrents in Japanese ambient and pop music, years 1980 - 1986.' These mixes contextualized the outré orbit of Yellow Magic Orchestra-related solo projects and their abstract, radiant forays as forever futuristic modes of music.

Reassemblage evokes similar musical futures celebrated on the Fairlights mixes, but does so observantly rather than reverently. The title Reassemblage, for example, is taken from a film essay by Trinh T. Minh-ha, which explores the impossibility of ascribing meaning to ethnographic images. The author aims to speak nearby' rather than speak about.' In other words, to embrace lapses of understanding, and realize that the impulse to map direct meaning across a cultural gap often results in further disconnect.

In an effort to speak nearby' rather than speak about,' Visible Cloaks filters and forms source material to become young again. Often the duo strip tonal elements of their specificity or randomize melodies so they become stirring and lucid. Essential patterns emerge, conscious experience heightens. In these moments, the musical language of Reassemblage finds unlimited resonance and presents a path to uninhabited realities.

The origin of this language could be described as translingual or polyglottal, working within the eastern / western feedback loop of influence, Fourth World ambiguity, and the universality of human emotion. Incorporating an international array of virtual instruments to advance the idea of panglobalism through digital simulation, tones and colors cohere into a living, breathing pool of sensorial experience in Visible Cloaks' environs.

Beyond embracing the fluidity of worldly musical influences, Visible Cloaks works fluently between mediums. The contribution of stalwart digital and installation artist Brenna Murphy's dream dimensions to Reassemblage's cover artwork and surrounding videos extends the album's exploration of global headspace into a visual, visceral reality.

After a strain of jungle releases, Myor Massiv enters 2017 with two slices of piano infused breakbeat hardcore.

On 'Love Flows' Coco Bryce blends the old with the new by fusing 92-style pitched vocals and piano chords with crisp sounding, stripped down production techniques in the best of post-noughties traditions.'Fools Gold' features a more throwback-heavy approach; gritty rave stabs, filtered gabber synths, a cut-up airhorn and pitched vocals of both the singing diva as well as the rapping tough-guy variant.

Invite's choice continues with a coherent and versatile 4-track EP showcasing hypnotising techno.

Drafted has the honour of opening up the EP and does that with 'Isolator'- a 4-to-the-floor track dominated by the low-end. Nima Khak then takes over on the A-side with 'The Work Out', a stripped down and tension building track with droning percussive elements which suck you in right away. Qindek's input is found when flipping over the record and continues the hypnotic previous tracks whilst depending on an ever-evolving synth-sequence, yet this track makes a more aggressive impression due to the straight forward and present kick and percussion sequences. Pascual closes the 7th output of Invites Choice with a powerful and overwhelming track which conveys a lot of energy. The long stretched, slowly filtered effects and dominating shakers make for a repetitive closing of this EP. The four different artist on this EP take us on a tour through minimalistic modern-day techno's versatile approach on stripped-down techno and stand firm combined!

The mysterious Cecil Moses & The S.G.'s (Oliver Klomp - drums, Colin Higgins - guitar, Bob Heinemann - bass, and Marc Hager - keys) unite with deep funk pioneer Lucky Brown to interpret Lucky's original "Mesquite Suite," a collection of spiritual folk/jazz modal melodies fused with earthy and arcane rhythms composed in the summer of 2015 in an ashram in the Texas Hill Country.

The S.G.'s, who specialize in their own brand of great quartet instrumental soul ala Booker T. & The M.G.'s and The Meters, adapted quickly to Lucky's experimental, rudimentary, vernacular, and minimalist approach. One thing you will notice in these tunes is that the vast space created by the musicians and the composition is what allows the FEEL to filter through, and for Lucky Brown, FEEL is what it is all about.

This first single presents the themesong of their collection, a deep tribal shuffle, "Mesquite Beat," upon which Jason Cressey - trombone, and Thomas Deakin - sax, offer their own explorations. The flip is an upbeat and minimal pentatonic anthem entitled "Justice," featuring Lucky Brown himself on funk flute.

With this release, we are proud to introduce the first installment of the "Mesquite Suite" collection on Tramp's own special limited imprint: "Tramp Tapes," a suite of original, raw deep funk inspired as much by Mulatu Astatke as it is James Brown.

future sessions is proud to bring you a release from the owner and operator

of finale sessions and one half member of the legendary balance recordings imprint with the legendary chez damier . so we will start you with the first track which is a remix of the classic track chez damier - never knew love with michael zuckers take on the track which gives it a real dancefloor driven sound with its funky guitar streams filled with filtered synth's and perfect drum programming and then we get to the second track 'wisdom and knowledge feat. maya angelou filled with her masterful poetry and michael zuckers pads and deeeeep bass and perfect drums gives it what it needs to flow streamingly then last but not least we have 'jacobs ladder' with is smooths pads and it's mesmorizing and hypnotic keys but the drums are the key to this track ..we want to thank you at future sessions for giving us the oppurtunity to do what we do and we thank you for the support.

TreVision is the rare conjunction of the Berlin based acts Florian Meindl, Sierra Sam and Pascal Hetzel in the form of a wild & gear-heavy Techno live act.
This first release is a result of two techno jams: in the studio and in a club using 2 modular setups, a TR909, MPC1000, delay pedal, Analog Rytm and Moog filter. After a small editing and mastering, here is Trevision 01.

"After almost 20 years of making tracks with blaringly loud kicks, you tend to start producing with the other elements first to give yourself a break from the constant pounding of monitors at point blank range. Following an analog filter shopping spree, I began working on a group of tracks where the low end was satisfied by the filtering, and realized these songs worked just fine without a bass drum. Therefore this record is called "Rareforms" since most of my other work consists of a kick drum and lots of loud effects. This record is dedicated to the brilliant synthesist and interpreter Isao Tomita, whose records always provide inspiration in the lab. Also to master storyteller Rod Serling and his frequent collaborator Bernard Hermann, whose score for the Hitchcock film Vertigo I adapted through some MIDI processes and wavetable synthesis, then sent it through a 4-foot spring reverb." - Phil Moffa

The Erefora Land" is the first solo record by Johan Kaseta, Lehult founding member. It's a nostalgic, hazy affair where the tracks work both on a dancefloor and as the score to an imaginary Super Nin-tendo RPG. Squelching vocal samples ("Hi!") and bubbling synths are reminiscent of the oldschool, synth-laden nineties game soundtracks young Kaseta still can't get enough of. "The Erefora Land" is like coming across the soundtrack to Earthbound after having forgotten to have ever played it - suddenly a rush of sights, sounds and smells from the past come back to you and gently pull you in. Kaseta takes this nostalgia of the forgotten and puts it into his very own context: shuffling hihats, missed drops - a playful version of house music. Swept up to the shores of Erefora land, you're greeted by "Lei Tindissima". A seductive, blistering track on the verge of falling apart yet always staying groovy and pumping. Being somewhat ambient and airy, yet relentlessly moving, "Erefora Steps" is not just a charm to listen to, it is also one hell of a weapon in the club - tested by yours truly intensively. Grooving on a broken, somewhat latin type of bounce, there are several twists and turns between heavenly pads, psycho-vocals and, of course, echoed airhorns.The third cut, "U Timmi", is a laid back Sunday afternoon jam. Despite being light, smooth and grooving, it's layered samples and micro melodies draw you further into the mysterious sound world of Erefora land.Finally, "Me times U" could almost be the theme tune of "Erefora Land", it's blissful chords so close to a conclusion yet always behind a veil of waterfalls, trickling shakers and swooping filters.

If we talk about ideas, we surely talk about "Idee 1", one of the best collaborations between Massimo Catalano and Remigio Ducros - together with "La fatica", that will be reprint in a while - with contributions from the amazing Daniela Casa. Daniela is one of the few women in the "Italian libraries" scene, but she's more talented than some of her better known male colleagues. If Daniela, and so her husband Ducros, are names linked to a tiny niche of soundtracks' lovers, Catalano has instead worked for television, being a well-known composer for the audience. His great technique and composition, combined with those of his 2 colleagues, is one of the strong points of "Idee 1", published (but never released) by Team on February 1972, fulfilled with experimental sparks (Astrazione per Flauto, Astrazione per Piano, Filanda, La Fonderia), staggering orchestrations, breakbeat and funky (Lunedì ore 7:45, Ducros), mournful atmospheres (Venerdì ore 20:30, by Casa; Ripensandoci by Catalano) and world music influences (Tibetano, Catalano). If we have to explain this record with just one track, this would be the fourth one, Creatività (Creativity): unrestrained, with no limits or filters, this song is ready to get heavy rotation on your record player.

Aus Music follow up a string of new signings with the return of 2 of the long-standing staples - label owner Will Saul and long term affiliate Komon. The duo most recently collaborated on a 12 for Kompakt now together they ready the 'Eve's Seven' EP - a deep and dreamy 3-track EP that comes with a remix from recent signing Recloose. Bloom sets arresting riffs circling through rich textures that thicken and thin to startling effect. 'Eve's Seven' follows up with dusty drum samples and bold melodies before the Brooklyn native does what he does best in offering up a typically sunny take on Komon & Will Saul's 'Eve's Seven'. Sweeping filters and a short, driving bass line propel a highly energetic but playful rework primed for brimful dancefloors.

finally repressed

Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.

Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.

Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.

Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.

Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.

Following the excellently received Dilation LP on FILM, the duo return to the Berlin based imprint for a remix package featuring FaltyDL, Grand Optimist, Djrum & Portable Sunsets. Erol Sarp & Lukas Vogel's ingenious use of the grand piano has won them many plaudits over the years. Working solely with the sounds of the grand piano and a set of 20 self-built hammers hitting the piano on different parts - filtered & warped in an extraordinary fashion, the pair craft dense, rousing music - kept fresh & current with nods to IDM, ambient & techno. As such, the original recordings are fertile ground for remix opportunities, and the FILM label call on a who's who of left-field electronica to reimagine the work. NYC native FaltyDL takes on Newtons Cradle, flipping the original and turning in a stepping, psychedelic slice of half time proto-Footwork while both Phillip Otterbach, operating under his Grand Optimist alias, and 2nd Drop's Djrum offer tripping, ambient reinterpretations. 1080p's Portable Sunsets reimagines key LP cut Neon as fuzzy beach house jam, reseting the original & eeking out a wholly different energy with driven drum machine hits & a soothing vox line.

For the second and last EP of Contemporary Spaces remixes, Dynamic Reflection welcomes yet another batch of talented producers to the label. Just like the first remix EP, it is a mix between household names, and up and comers. First off, it's Perc's interpretation of Glide. The UK based artist, who is known for his use of distortion and aggressiveness, takes it down a notch on this occasion. He has made Glide into a echoing and glitchy track that doesn't reach its energy peak until the last couple of minutes. Matrixxman takes overwith his Biohazard mix of Future Existence, which contains a tensive synth, confined by a filter that gradually opens,and than closes again, retaining your attention at all times. On the Bside, SHDW and Obscure Shape reshaped The Hunt to provide the first outright dance floor track of the EP. With its thumping kick and epic pads around the breaks, it's bound to win crowds over in the club. Dutch talent Ben Buitendijk also remixed Future Existence, in his own distinctive, hypnotic style. A deep, though energetic track with a very mature sound. Lastly, as a digital bonus, Matrixxman remixed Immersion as well. The subby kick, old school rides and uplifting lead, make it into one of those secret weapons, waiting to be used on the night's most workedup moments.

So kam die Postmoderne über uns und machte aus vormals ehrbaren Kulturschaffenden Werksarbeiter, denen alle Schrauben abhanden gekommen schienen, im besten Fall. Mit minimaler Eigenleistung (nimmt man die unbeabsichtigten Fehler in der Produktion mal aus), aber bei maximaler Entgleisung entstand ein gänzlich neuer Berufszweig. Der grundsolide Werksarbeiter, mit Gema Anmeldung im Griff und guten Draht zu seinem Steuerberater. Um die quietschfidelen Arpeggio Terroristen soll es heute mal nicht gehen. Unsere Protagonisten dieser Geschichte sind andere. Wahnwitzige, Soziophobiker, Menschen mit gebrochenen Lebensläufen statt Joghurt im Rucksack, emsig agierende Mitstreiter mit Tupperdose in der Tasche für die Frühstückspause, willens den Kampf der letzten Kulturoffensive zu Ende zu bringen, samplen, pitchen, alles zerhacken und zu undefinierbaren Fetzen von Funk wieder zusammensetzen. Ausgeglichen vom Duft der Natur ankommend denFortschritt definieren wollen und den Strom in die Maschinen juckeln. Ästheten der Fehler waren geboren. Losgelöst vom Fließband. Hart & tief wird geackert geschwitzt, gebimmelt, der Filter aufgedreht, der Schmutz schaufelweise rangekarrt, bis die Stufe der Erlösung erreicht wird oder eben halt auch nicht. Das Leben ist nun mal kein einziger Orgasmus und der Funk entsteht in den Pausen wie die Befriedigung der Gier und der Besitz des Moments, weil das Leben ist doch nur ein Wimpernschlag und wir immer nur einen Abgrund entfernt von Weltekel oder Erlösung.

They say all good things comes in threes, and with the marking of Nachtbraker's 3rd release for Heist, we can confirm this universal truth once again. Maurits Verwoerd comes back to Heist with more dancefloor muscle than ever before, and shows us great development of his sound: while keeping his unconventional drum patterns and love for the deeper side of house, he adds some filtered funk flavor along the way. 'Gotta act to react' drives on a saturated bassline, a hypnotizing guitar lick and some seriously loose hi-hats, but really delivers once those hard to place filtered hits come in. 'Pollo con Pollo' is potentially Maurits' most clear attempt at a straightforward groove, with a lovely dreamy guitar loop running throughout the track. Add his loose sense of arrangement and changeovers, and it's still anything but straightforward. The B- side gets nice and weird with 2 versions of Intermezz(l)ow, the one being a lovely textured interlude and the other a rough drum workout built around the same theme. When we asked Maurits who he wanted to have as a remixer, he suggested he'd do a remix himself. We knew better than to argue with him, and since he is who he is, we're not entirely surprised he came up with a great dubbed out acid-tinged flip of 'Gotta act to react'. This EP really shows Nachtbraker's steady rise and will most likely take him out of the shadows he so enjoys, into headline territory and we're glad to support him in this journey. Sincerely yours, Lars & Maarten

Owner operator of Finale Sessions Music Michael Zucker has brought you a sister label called future sessions music to showcase his own music with close friends and family and we are excited to able to share this label with you. Starting with our first release with the detroit veteren Norm Talley and Finale Sessions veteren Michael Zucker and we will start with Norm Talley's music first with the track called 'power 'it has the sublime detroit deep sound with its sharp chords and that pumping deep kick and claps and it also has additional work from another detroit legend delano smith but what makes this track is the fantastic vocals from the soul. Track two 'lock jaw' is just raw beatdown late night track with deep chicago classic sound with a pumping kicks and mind altering synth. Then next we have Michael Zuckers first track 'parisian nights' with it's classic filtered classic chicago sound with proper pads and chords with a vocal drifting in and out of the spectrum . Track two ' thought process' is just an amazing deep inspired melodic trip with key's and that classic b4 organ that sets the tone for the pads and that lifted filtered sound . We are excited to be able to work together Norm Talley and myself and we hope you enjoy this journey also.

Wolfgang Tillmans designed Cover with Innersleeve

How to introduce the first record by Wolfgang Tillmans Now considered one of the most significant visual artists working today, his very first passion in life lay with music. This record features on its B-side three songs recorded in 1986 in his home town of Remscheid. The A-side features two pieces recorded in 2015/2016. The 29-year gap in between were marked by Tillmans exploring music, pop and club culture from many different angles. 'Make It Up As You Go Along' is a pulsing dance track based on the recordings of a book printing press in a factory in Stuttgart. Morphed through various production stages, the press's syncopations and his Tillmans' serendipitouspenditous vocals merge into an intoxicating track that could become a summer festival early a.m. favourite. 'Triangle / Gong / What' is an experimental offering made up ofwhich combines the sounds of playing a special alloy triangle, a 999 fine gold gong and a vocal, fused through a particular gain manipulation during the recording process. The 1986 side features three songs which Tillmans wrote and recorded with collaborator Bert Leßmann. A single channel recording from the rehearsal room was all he had from back in the day. With the help of Tim and Klaus Knapp the recordings were filtered and eq'ed and then supported with precise reconstructions of the original instruments. Out of this production process spanning 30 years a unique time capsule emerged, which portraits a small town teenager with some ambition. 'Time Flows All Over' is a haunting reminiscence of the angst and energy of the mid-1980s, infused with surprising contemporary relevance.

We've had our eyes on Obas Nenor for a while and after his disco-meets-Detroit affair on 'Mahogani', and some great releases on his newly started own label 'Nenorian music' and 'Sol Power', we're happy to share his work for Heist with you. 'The Ceaper Buing EP" features 4 original cuts and a remix by Swedish "Mr. Tophat" that navigates somewhere between really weird, and really groovy. If you've seen any of his studio videos, you'll see he's has a great mix between live instrumentation, and sampling on his MPC, and each track on this EP has so many great elements working together, that it will be hard to pick a favourite. "The doors" has a great filtered funk loop going on with some roughed up disco percussion, whereas the Tophat remix twists and turns the original into somewhat of a tribal(ish) drum workout that is probably best enjoyed in a really really dark room. "Glimpse of light" has some really interesting sampling going on with a feel that is almost 'rock', but gets more and more disco with some lovely synth work as the track progresses. As a counterpart to the first part of the EP, 'Wacky' slows things down to give you a summery, afro inspired track that we forced him to send us after we saw a short clip online of him jamming away on his Korg x-911. UV lights is a somewhat special track for us that you wouldn't expect on Heist at first, but makes for a great addition to our musical world. It's perfect 'hands-in-the-air' end of the night material, with a serene and emotional vibe that is really hard not to love. Altogether, it's a great EP that we're really happy to share with you. Sincerely yours, Lars & Maarten

Metrist AKA L. SAE AKA Joe Higgins brings the noise in this tech-punk sound-clash straight outta' Hades. His background in bass music of all moulds can be felt throughout but the round edges of dubstep have been fragmented into harsh shards, prismatic in approach, each track swaggers and pumps under itâ s own mad weight. Jabbering speak & spell voices lead into tape busted kicks and sinuoid crow calls. Seismic filtered drums and a broken mirror landscape of screech synth and dull tonal slope. The record is a vivid nightmare, absurd and chilling.

This is the third record of the Modern House Quintet.
This new one features one house/deep house track (A side) and a more 'detroit-atmosphere' cut on the B-side.'Belle-Ile' opens with a filtered piano organ which responds to a massive bassline. The second part of the track introduces gradually a flute line, a trumpet sample and a layered pad.'Fountain' starts with a pad which is progressively defiltered and quickly joined by a bassline. The break introduces an acid bassline, supported by a string chord. All these elements blend together to create a Detroit atmospheric vibe.

Warehouse Find!

Having unleashed the beast that is his debut LP Columbusing, thatmanmonkz grants a couple more heavyweight producers permission to get busy with the sonic manglers for remixes of Turn It Out and Boogie Down. First up, one of the vocalist contributors to the LP Dave Aju (known for his releases on Circus Company) takes on his own track Turn It Out, transforming the original from a backyard BBQ summer jam into some kind of mutant electro P-funk meets broken- beat fusion. A filtered bass line and bare bones 808 kicks are what this track is all about forming the perfect rhythmic union with the vocal.
Flip over for a remix of Boogie Down from talented new UK producer Laurence Guy. Laurence has been making waves the last year since dropping his Kojak EP on Church and subsequently getting played at seemingly every single Move D gig for the following six months! A slew of brilliant releases came hot on the heels on labels such as Cin Cin, Rose and Outplay. For his Boogie Down remix Laurence has opted for a sweet and laid-back affair which compliments Erik Rico's paired down vocals perfectly, conjuring up feelings of warm, balmy nights, dancing under the stars.In addition to the remixes we've included two more originals from the LP - Turn It Out and the dance-floor pleasing For Bae.

With their next carefully curated release, the Opilec Music label begins to shine a light on the roots of Italo with the reissue of an ultra rare and obscure synth Italo disco track by A. Avenue from 1984.

This is a special Record Store Day 2016 release and of course, Opilec Music has remastered the original vocal and instrumental versions and here include I-Robots reconstructions and two Flemming Dalum's reworks.

This is a track many labels wanted, but only Opilec Music have been granted official rights to this cult re-release. Originally released on Discover Records, this is the only EP

A. Avenue (aka Dario Ancona and F. Feleppa) ever put out and it now fetches high prices on Discogs. Once you hear the music, you can understand why: The lovably naive and innocent vocal version is seven minutes of cosmic and psychedelic grooves with perfectly retro melodies and pixelated chords that take you into outer space.

Mid tempo drums are full of funk and drive and the two part vocal—one crisp and clean, one filtered and dehumanised—really lend the whole thing a special robot feel that is second to none. As well as a stripped back instrumental, there is a fine I-Robots Reconstruction that is quicker and more driving.

The vocals are also more prominent, soaring up top above reflective synths and rainy xylophone style melodies. It is a real Italo disco gem that is followed by a spacious and tripped out version from Danish DJ and producer Flemming Dalum, who has been devoted to Italo all his life and works with labels like Mothball, Bordello A Parigi and Disco Modernism.

He also layers in more cowbells, punchy drums and claps that refresh it for a modern club, and buy the EP digitally and you will get a second Dalum edit that is the deepest of the lot - 100% true to the original.

This reissue will make many record collectors and Italo disco fans truly happy, and is just the start of some brilliant new projects to come.

Gari Romalis and Lello Di Franco - Dreamin For the uninitiated, our man Gary Romalis is the unsung master of Detroit's house and techno scene. Having DJed across the motor city's top venues for the last three decades, Gary is somewhat of a seminal figure for many of Detroit's DJs currently at the forefront. Following a slew of high quality releases on various labels over the past few years, Gary now unleashes that special flavour on us for SKYLAX 142! He is not alone though. With him, he brings all round Italian partymaker, and top selector in his own right, Lello Di Franco. Let me tell you, this duo's collaboration is something to behold. Throughout all 3 tracks on the record, Gary and Lello maintain the essence of what the Detroit underground is all about; stripped back tracks with soul that never feel like they go 'big' for the sake of it. While Dreamin (Wanda Mix) may be packing a big kick and power clap combo, it's the elegantly filtered, jazzy sample that will leave you wishing that the track lasted forever. The vibe takes a dip right into the deep in Detroit Underground (Beat Dat Mix). Spacious pad synths alongside a mesmeric vocal carry us through. Taking a step back up, Afrobeat rounds off the EP, made with a solid toolkit of afro-centric samples.

The next installment on Aus Music sees the return of a relatively new addition to the roster Rob Glassett aka Fold. Throughout previous 12s on Manmakemusic and Electric Minds and on his outstanding 'Netflix & Chill' debut for Aus last year - Fold has laced together dusty House grooves built with a classic approach to sampling Funk, Disco and Soul records. Next up - his 'Lenny's Jam' EP starts up with a dub techno groove built with delayed and panned stabs and sharp, pacy drums. 'Rosie Lea' lays out a rich and sunny groove as a playful sample filters into focus over deftly treated drum kit samples and a buoyant bass line. 'Tracksuits and Tennis Shoes' then follows up with a no-nonsene party jam - a short funk link is set over a booming kick that closes up a nicely varied package".

Wenn du jemandem erklären willst was genau eine drückenden Bassline' ist, spiel ihm oder ihr einfach diese beiden Nummern der Vogelperspektive vor. Mighty Fat' ist untenrum nämlich so fett wie es nur sein kann. Umso verblüffender zu hören, wie fluffig und beweglich sich die Atmosphäre in den Mitten und Höhen gestaltet - hier ist schwebende Vogelperspektive vom Feinsten angesagt. Die energetischen Breaks, aufputschenden Filter-Sweeps und lässigen Synthie-Akkorde von Noise No Girls' erinnern an klassische House-Nummern, klingen aber extrem frisch und modern. Das reicht dir noch nicht, du willst noch mehr Abwechslung Dann sei ergänzend zum 10' Vinyl noch die Digitalversion empfohlen. Stephan Zovsky gibt Mighty Fat' einen deepen, hypnotischen Anstrich, ohne jedoch die housige Leichtigkeit des Originals über Bord zu werfen. Zusammen mit Pophop und J.Patterson hat er aus dem Track außerdem eine jazzige Downbeat Nummer mit verträumtem Trompeteneinsatz gezaubert.

* Following on from successfully funding her How To Make A Symphony Kickstarter project, Emika returns with a new four-track EP that sees her chart yet more new territory.

* Lead track Flashbacks is a typically haunting affair whose deeply personal lyrics are a heartening example of how art can turn feelings of trauma into something beautiful

* Her velvety voice belies the deep subject matter while the sounds gracefully tread the line between the brooding and the ethereal, with pulsing, filtered synth delays, low register piano bass octaves and a stuttering slo-mo beat produced with The Exaltics, building an engrossing atmosphere

* Restless Wings goes into more experimental territory - both in terms of composition and concept. 'It's about creating a new personality which lives in the internet - something we all know

* Total features the silver-toned soprano star of How To Make A Symphony, Michaela Srumova, and tackles the complicated relationship between a mother and her daughter

* French musician Franck Vigroux provides a stark, shuddering remix of Flashbacks to complete the EP, driven by gnarled blasts of wildly distorted synths and bass grunts, rising to an intense, mesmeric crescendo

* This EP brings together the classical and electronic extremes of the Emika sound, proving that her signature is like no other and continues to evolve.

Following two EP releases on Delusions Of Grandeur the time felt right for thatmanmonkz to get working on his debut LP. The Sheffield b-boy is no newcomer to production having been releasing music since the mid-noughties but has seen a definite rise in interest the last few years following essential releases on his own Shadeleaf label as well as remixes and productions for the likes of Classic, Kolour LTD and Kon's StarTime.
With his first musical love being Hip Hop it's easy to understand how his approach to house turns out so refreshing. Inevitably MPC's, big, bold samples, Jay Dee inspired grooves and a raw, underproduced sound all play a big part and never one to shy away from an interesting collaboration he has enlisted the skills of several vocalists including Detroit MC Ta'raach (whose credits include Slum Village and Jill Scott), Erik Rico (collabs include Ron Trent and DJ Spinna), Khalil, Dave Aju, Pete Simpson (as A Brother Is...) and Malik Ameer.
Things kick off with a low-slung soul jam entitled Air featuring Kahil Anthony complete with sparkling Rhodes arps and a dub-wise bassline underpinning a beautifully lazy groove. Jus Anutha Wunna Deez follows with a rough and ready house jam that clearly doffs its cap to those old Sound Signature and Mahogoni Music releases we know and love so much. Next up we have Boogie Down with Erik Rico rocking some Parliament inspired vocal business bringing the feelgood vibes to this rolling P-Funker. Some Ol' Nex' Ish goes for a jazz samba meets house fusion whilst A Fly New Tune goes strictly old school with a classic combo of dusty break, filtered fusion rhodes n bass sample, movie dialogue snippets and a masterful flow delivered by Ta'raach. Dave Aju steps up next on Turn It Out laying down a unison vocal refrain to compliment the bumping disco groove complete with a call and response section for some singalong party participation!
As we continue, Another Night Under The Glitterball sees thatmanmonkz back in familiar territory with a rock solid, deep jazz-house jam. On I Can Hardly Breathe we're treated to a downtempo gospel-infused affair which leads us perfectly into the most bumpy club- friendly track of the LP For Bae. Moon On The Hill is a collaboration with Italian DJ Kali and his Raw Standard crew and treats us to some distinctly mid 90's Kruder and Dorfmeister vibes to zone out to before heading off in an altogether more bonkers, psychedelic dancehall direction on Vampires. Baked is another classy thatmanmonkz take on Hip Hop featuring Malik Ameer on the mic. Take U 2 My House sounds like something Prince might have made in the mid-80's if he'd just come off a 3 day bender at Panorama Bar. And closing the show in perfect style and fashion we have For Those I've Lost Along The Way which is a blunted yet beautifully optimistic number that has echoes of Lonnie Liston Smith and a brilliant spiritual vocal sample which provides the perfect closer to an amazing debut LP.

INE MELODIE, DIE IM ABENDWIND VORBEIWEHT. REGENTROPFEN, DIE GLITZERND AN DER SCHEIBE HINUNTERPERLEN. JENE KLEINEN MOMENTE, UNSCHEINBAR UND DOCH SO INTENSIV UND UNVERGESSLICH. ES SIND DIESE MOMENTE, DIE DEN SOUND VON DOLPH BESTIMMEN. DENN DIE POCHENDE SCHWERE DER KICKDRUM UND DAS MUNTERE KRACHEN DER CLAP SIND ZWAR NICHT ZU ÜBERHÖREN - DOCH DIE EIGENTLICHE MAGIE ENTSTEHT WOANDERS. WOMIT WIR BEI JENEN KLEINEN, SCHEINBAR BEILÄUFIGEN MOMENTEN WÄREN: DUBBIGE DELAYS, DIE WIE BLÄTTER DURCH DIE LUFT WIRBELN. LANG GEZOGENE FILTERMODULATIONEN, DIE WIE NEBELSCHWADEN DURCHS KLANGBILD DRIFTEN. FARBENFROHE HARMONIEN, DIE ÜBERRASCHEND AUFBLÜHEN. AUF EINER 10' VINYL GIBT'S DAS VERSONNENE FREE OF THOUGHTS UND DEN IN ZUSAMMENARBEIT MIT LEVOLT ENTSTANDENEN TRACK X, DIGITAL GESELLEN SICH EIN WEITERER, EXKLUSIVER TITEL SOWIE EIN REMIX VON MOLLONO.BASS DAZU.

For the second release, the artist Kaelan joins the ranks of the squad of Shaw Cuts with the EP 'The Silent Swordsman'. Equipped by his sharp stabbing weapon and a mysterious fighting technique taught by the head chief of the Sun Moon Sect Master Wu himself, Kaelan strikes out to hunt. Not hectic but silent, so watch your back!
The chase starts off with 'Latch', a straight techno banger with swirling chords and thrusting percussions that can easily slice the villain's face into pieces. Bloodbath.
'Claw' already gives hint to another weapon of Kaelan just by the track's name. Filled with filtered moving chords and vigorous and intense drums, this tune would be the perfect soundtrack for the final fight between two kung-fu masters, surrounded by befogged dead bodies lying on some mossy floor.
On the B-Side, Farron bolsters up the silent swordsman with a more break-beat orientated version of 'Claw', filled with energetic clap combos, subtle pads and big bass drum hits.
The whole EP is topped off with the track 'Hasen', a beautiful journey into ambient music with a touching atmosphere.
Mission completed. The carnage continues

To anyone with even a passing interest in the weirder end of good-time party-ready house music, Freaks should need little introduction. Luke Solomon and Justin Harris have been keeping our preferred kind of dancefloor vibrating to the cheekiest manifestations of house music since the mid- 90s, never letting up and moving in the same oscillations as the good ship Circus Company. From first emerging on Phono through to setting up their Music For Freaks label, stopping by Playhouse, Wash House and Rebirth amongst countless other labels along the way, the UK duo have constantly given the traditions of house music a tickle in the ribs without losing that fundamental funk that makes a record great to dance to. We were thrilled to welcome Luke and Justin to remix Dave Aju's 'Nu Threads' at the end of last year, and now we follow up on that connection with a special EP of gems from the extensive Freaks archives. On 'Shrunken Heads (One Pro Mix)' the rock solid foundations of filter house music collide with flamboyant synth noodlings for a truly cosmic end result, while 'Absolut Zero' finds solace in a slower, deeper groove peppered with oddball effects tweaking and disembodied vocal samples. Heading further into loose-fit, slippery territory, 'Funk You (Who Do You Trust Dub)' lets soulful sample licks wriggle and writhe through a decidedly laid-back atmosphere that shows off the range Freaks have always sported in their output since day one. In many ways this coming together of Circus Company and Freaks feels like a logical development for two bastions of the oddball house music community, not to mention a great opportunity to hear tracks that otherwise might never have seen the light of day.

On his first release for Droid Recordings, master sound technician Brian Sanhaji drops two hard, gritty tracks. A1, Macronomena,' is an unmissable, surprising thrill. A filthy, grainy bass synth gets mangled by filters and LFO, pushed out of time, and forced back into a perfect, funky lock with the pummeling beat. Nearly five minutes in, the machine breaks down and falls apart, only to slam back into groove with new, jack-oriented elements. B2, Synphone,' plays things straighter, manipulating the optimal gears and levers of the techno toolkit for an undeniable dance floor mover.

LIMITED COPIES

Capital Bass continues to gather Russian names under one roof and expand stylistic variations. Next big thing is a three-track EP from Ponty Mython (Alex).
This is the second EP by sir Ponty Mython on Capital Bass. It has been two years since his bulletproof Jesus EP in 2013.
During these two years Ponty Mython has been working with such iconic house imprints as Arma, Quintessential, Dirt Crew and others. His new Adverbs EP is a quite eclectic thing.
Side A is a filtered house banger Gracefully - a result of sampling games with Moscow house star Lay-Far (Local Talk, In-beat-ween). Side B - Afterwards tune is a real one-loop thriller, dirty and raw, with African samples and invisible sub bass line.
On B side you can also find a psychedelic version of Afterwards by Saint Petersburg techno artist Nocow (Roots United, Fauxpas Musik). (Roots United, Fauxpas Musik)

Kyle Geiger returns to Droid Recordings for a three-track suite of techno and rhythmic experiments, Jupiter Storm.
A1 (Jupiter, Hydrogen Edit) builds from a rumbling kick, slowly constructing a space of delayed tones and filtered noisse pressure aimed at the dancefloor.
B1 (Mars) takes things for a truly unexpected turn, borrowing some of Jupiter's sonic language and reformulating a triple-metered groove with waves of noise and distortion.
The title track, Jupiter Storm(B2) brings the full kick back into the picture riding the Mars rhythms against the standard kick for a track that's driving and infectious

Robert Crash is an alias of Italian DJ and producer Fransesco Schito and now he makes a debut outing on Creme Organization with a tidy four track EP. In the past he has turned up on Dog In The Night Records, and with these cuts lays out his singular take on outlier house and techno. Up first is 'Gigolo', a spare and weird house cut with sine waves and random claps, hunched drums and trippy synth lines. It's a unique track made in a unique way and will lead to plenty of freaky dance floor moments, for sure. 'Co. Art' is a whacked out techno cut with slap-funk claps, blistering and blistered synth lines and a rugged bit of bass underlining it all. The track is cavernous and metallic, empty and distant as if it somehow survived a nuclear blast. On the flip, 'Alzheimer' is a slow and gurgling, swampy techno number with broken drums and crawling synths that sound like their batteries have run down. Icy, watery melodies eventually rain down, but the track remains resolutely eerie. Last of all, 'Fabric' is another decaying track with subtle, heavily filtered synths and drums all making for a minimal groove that is barely there. This is heavily deconstructed music that sounds like little else out there and may well be the start of a very fast rise through the ranks for Robert Crash.

Introverted Dancefloor is Bevan Smith, a New Zealander who has released music under names like Signer and Aspen, and who has played in the Ruby Suns and Skallander throughout the last decade. His prior output has been spread over many international labels and has touched on sundry genres (like techno, IDM, folk, ambient) while featuring restraint and sophistication as compositional hallmarks.

As Introverted Dancefloor, Smith has kept those features as guiding principles while allowing a more propulsive low end to dominate the construction of this music, winding up with understated but energetic dance tracks. Gestation, too, is a prominent attribute of this music, though not necessarily an obvious one. Smith started these songs with hundreds of layers, which he then pared down to a few core elements before rebuilding again.

For Introverted Dancefloor, Smith limited himself to the use of two synthesizers, one mic, one filter, and one effects processer. This constraint is not obvious upon listening as the album works across the idioms of electro, Detroit techno, pop house, and leftfield disco, playing with the line between fluid melody and drum machine programming. Each track has a playlist as its scaffolding, Smith's goal being to filter a certain set of varied influences through just a couple of instruments. Metro Area's Miura' (Original Mix) turned into Introverted Dancefloor's Happiness is such a mess/Pipedream.' If there can be such a thing as a subtle banger, then Smith may have earned that distinction here. Take it high' seems to be a constant ascent with its climbing bass and layers of chords, relying on no hackneyed drops or releases for its crescendo. Smith's layering practices show their precision on tracks like Even if you try' and Tiger bones,' in which disparate elements contribute to pointed melodies, an unidentifiable percussive part entering the same expressive plane as a sung line.

One of the record's most striking features is Smith's inclusion of certain elements of a song in a neighboring one (vocals from Pipedream' in Happiness is such a mess,' a synth line from Even if you try' in Always turn your head') to lend a phantasmagorical effect to the procession, blurring the distinction between a track and its reprise. The result is a song cycle wrought from painstaking labor, while nonetheless retaining core values of amorphousness and motion.

Tunnel is a minimal techno and dark techno EP inspired by the
thought of getting into people's minds simulating the feeling of
driving into a tunnel or during a dream, A three tracks Ep
focused on groove and percussive sounds with effects and pitch
variations.

A side is based on different rhythmic and percussive patterns
research with Direct track, a simple minimal piece, able to
reach and let the listener into a tunnel of sounds with effects
and pitch variation and the self named track Tunnel, a groovy
track characterised by the continuous insertion of batteries
allowing the listener the continuation of the trip.
B side is a one hard acid track, working with operators and with
its 4 oscillators and a filter with LFO, a linear piece that follows
the wave of acid, specially made for the dance floor.

Up and coming Belgium-born activist Philippe Petit, operator of the Knotweed and Decision Making Theory labels, returns to Figure SPC with a delightfully versatile four tracker. Spanning cold-wavesynth electronics, purist club techno and up-building melodic zones, its perhaps Petits strongest effort yet. Capturing a neo-classical, archaic mood in >Mist Solaris Negative Zone Suspended< closes the EP with a joyful, above the clouds journey, lifting up weightlessly into the ether.

Over the past few decades, there has been a seismic shift in Brazil's musical landscape. A plethora of varying musical undergrounds has developed across the nation. While Rio and São Paulo have been overwhelmed with networks of talented musicians for a long time, creative life is now bursting all over the country. Amplificador exists to document and propagate the wonderfully diverse music currently blossoming from Brazil's vivacious and geographically varied musical undergrounds. Presenting an up-to date insight into Brazilian music, this compilation draws together some of the components of 'Novíssima Música Brasileira' (brand new Brazilian music), ranging from afro-grooves to rock, to modern samba and MPB. The music reaches back across Brazil's incredibly rich musical and cultural traditions, while also taking in influence from other movements around the globe.



Having begun life in 2012 as a Brazilian music blog run by Marcelo Monteiro, Eduardo Rodrigues, Mateus Campos, and Ricardo Calazans, the aim of Amplificador is to document and propel to wider audiences, Brazilian music of the '00s and '10s generation. This is a task made more significant by obvious changes in the way music is consumed. 'People are no longer obliged to listen to what the radio and TV are presenting. There is a whole new generation that wants to listen to new bands and new sounds and we try to connect those bands with other bands, producers, fans and even the mainstream.' These changes in technology and the way music is discovered and shared have developed parallel to the proliferation of these emerging scenes. The ostensible decentralization of the music industry means the promoting and filtering work of journalists and blogs, like Amplificador, have become increasingly important, as people try to keep up with the tsunami of new music and media flooding the country on a daily basis.



Marcelo uses the example of the Mangue Beat movement to explain a trend in contemporary Brazilian music that looks both inwards, to Brazil's own musical traditions and outwards, to movements around the world to create a novel, localised identity: 'The 90's Pernambuco art-social movement was inspired by Coco, Maracatu and Forró all mixed with modern riffs and grooves. The mythical

revolutionary Chico Science, his Nação Zumbi, Mundo Livre, Siba, and many others do this blend perfectly. There are also the references to the older generations and masters - Gil, Caetano, Luiz Gonzaga, João Gilberto, Tim Maia, Jorge Benjor - as a constant inspiration for all bands.' This is very much the case for the Brazilian artists of today.



Music is unquestionably informed by place. Brazil has always been famed for its regional differences in this sense. Indeed there are still pronounced variations between the scenes of Rio, Sao Paulo, Natal, Goiânia, Belo Horizonte and Belém for example, there are also great divergences within cities and while technology has brought changes to the way musical influences are shared, there are cultural differences, rooted in folkloric traditions, that aren't going away. Expressing his appreciation for this fact, while highlighting the potential of Brazil's spread of musical flavours, Marcelo explains that 'what we have now is new ingredients to make an even better mixture.'

This compilation heavily features music from a scene in Brazil's current musical make-up, which draws inspiration from African music, particularly Afro-beat music. Abayomy Afrobeat Orchestra from Rio formed because of their shared love of the music of Fela Kuti, uniting initially in 2009 for a jam session in his honour. But what sets Abayomy apart from other groups of a similar nature, is the fact that their sound also brings with it the songs and rhythms of candomblé. In this sense, Abayomy was the first band of its kind. The thirteen members of the orchestra have a palpable current of Rio's musical heritage - its rhythms and culture - running through them. So while their sound is distinctly African, it is also inherently Brazilian. Similarly, Zebrabeat Afro-Amazônia Orquestra draw upon traditional guitarradas and carimbos from the state of Pará and fuse these with the poly-rhythms of Afrobeat to create another regional hybrid, which stays true to both its Amazonian and African roots, yet which results in a very fresh, Brazilian sound. From Belo Horizonte (capital of Minas Gerais), Iconilli are another key band on Brazil's Afro-groove scene. With influences as varied as funk, jazz and psychedelic rock, congado, mining harmonies, maracatu, coco, ijexá, carimbó, Iconilli somehow manage to balance all of these sounds in such a way that makes it impossible to pin them down. From the Northeastern city of Joao Pessao, Parayba, Burro Morto's pshychadelic afro sound leans more towards rock and funk influences, with hint of regional Brazilian rhythms such as frevo and forro. They add another flavour to the Brazilian afro-groove scene: just one of the many exciting facets of Novíssima Música Brasileira.



While African-inspired music features heavily on the compilation, it is just one of the many styles within. Ive Seixas has a fresh approach to MPB, based on traditional rhythms and instrumentation, punctuated by a pop sensibility, coupled with a powerful female vocal. As an artist she is a product of a 'Do It Yourself' outlook to creativity, taken from her love of rock growing up. In 2013 she embarked on a project of street performance: wandering, like a lonely troubadour with just her guitar. Ive and her project began to gain notoriety and shortly after, her first EP was recorded, featuring some important names of South Rio's underground scene. 'Cervejas Populares' taken from the EP, is a beautiful, sombre piece of modern Brazilian pop, with a traditional samba rhythm. Another artist of the new MPB scene is Fabricio, from the city of Vitoria, who's 'Feito Tamborim' melds rock and funk and is also clearly reminiscent of the old Brazilian masters. It's an appreciation for the national musical heritage, alongside a keen ear for melody and an acceptance of foreign influences that results in these promising new sounds of Brazilian MPB.

Sao Paulo's super group of the underground 'Passo Torto' have been at the helm of an emerging scene in the city: an innovative approach to samba which draws in and experiments with afro grooves, jazz melodies and rock structures. Their sound is naturally very Brazilian, but the nylon twang of Faira Lima Pra Ca, interspersed with ominous strings and light rolling percussion, seems reminiscent of Captain Beefheart or Tom Waits, as the band lament their frustrations with their native city through their music.



The Future of Novíssima Música Brasileira looks very bright. The main challenge (and purpose of this album) is to get the music beyond Brazil's underground and into view of international audiences. In the last 10 years this goal has become somewhat more attainable, as the Brazilian government has begun to see the internationalisation of the nation's culture as a strategic objective, with public projects gaining increased investment and backing. The continuing project of Amplificador is to reinforce this international bridge by writing, filtering and promoting the scene as a whole. There is a wealth of great music currently blooming in Brazil and using new media tools, Marcelo and the team, alongside many others, will passionately continue to get the voices of Brazil's underground heard.

Focusing on deep and raw vibes, strictly wax and classic beats, The "Montee Louis EP" has been directly imported from bellevue II, libreville gabon, africa & it has been produced by the great Bernard da smoove. MPC-filtered deep house with some darker & menacing rhythms, A1 "Hudson Budd" kicks off the A1 with a meaty 4/4 kick drum which slowly finds itself surrounded by ghostly pads and even more haunting synths. A2 'Thrawbock' mutates into a more light hearted house jam for the heads, with its vocal infectious sample. B1 "Strctly move" goes back into familiar, smooth deep house territories but still retains his magic touch, able to transform even the deepest of basslines into something both unusual and musical at the same time. B2 & B3 'Thrawbock 88' & 'Strctly move 88' are the 90's hip-hop (!!!) versions of the same tracks above : INSANE !!First time we heard it we thought, 'hell yeah, the production is just TERRIFIC' & indeed there's a timeless quality to the intricately programmed drum machine rhythms, the drifting chords, warm

Juan Sanchez delivers his first single on the raw sounding Drumcode Limited with two monster sounding tracks.

Both tracks represent the gritty, tough side of the Drumcode spectrum and deliver two peak time tracks that will finish a dancefloor off. Using filtering hats, low end rumbles and outlandish beeps, Juan Sanchez encapsulates the sound of Drumcode Limited.

Circle 3 is the 9th vinyl release on Blank Code Records and is the 3rd release in the Circle series produced by Detroit native Mutate (Len Bartush), with remixes by Luis Flores, Mike Parker, and Project 313.

Circle 3 exemplifies the spirit of Detroit Techno. A deep, rich kick with a nice snappiness keeps the beat driving as heavily filtered synths reverberate through time, reminiscent of Detroit's classic M­Series records. Tight, delicate percussion plays with some aggressive claps creating the dynamic of a true modern classic.

Luis Flores delivers a solid remix that completely deconstructs the original track while keeping it's most bold elements. The kick is booming, the bass is tight, and there's a mean hook that loops it's way around the percussion, really drawing you inside the track's world.

Mike Parker dispatches an up­front rework, shrinking the original elements of the track into a veracious hook, supported by clock­like kicks and hats..

Project 313 deliver a stand­out remix that really highlights the atmosphere of the original track. The echo of the crunchy stabs dissolve into an endless feedback loop, as clicky hats and a solid downbeat pull everything together.

Exclusive to the digital version is another Mutate original, Recursive. This down­tempo track dives deep into dub, with sparse chord stabs that let their echoes form the dominant rhythm. A wicked groove is formed by the broken kick and finely chopped percussion that glitches on beat.

THE company focused on realeasing original obscure dance classic and everything's that sounds fine to their ears !What a special one we have here on Skylax Classic! Damien Zala, the man who put out the superb album 'Lonely Happiness' on Rowtag Records in late 2012, who gets heavy support from the great Theo Parrish, dishes up six special tracks for our next release. Before diving in, it is well worth noting that a selection of Damien's album tracks had remixes by the likes of house icons such as DJ Jus-Ed, Rick Wade and Boo Williams! If those names register even the slightest blip on your radar, which they should, then this record might be the treasure you've been searching for. Damien's sampling technique has a certain air of grandeur to it. 'Shake Vibration' makes this apparent right from the start with intricate layers of vocals, guitar licks and keys. 'All My Respect' and 'Come Around' both follow suit whilst 'Dizzie' picks up the B side with a bit more energy and frenzy compared to what has come before it. The record rounds out with two tracks taking things a bit deeper. 'Stay Where You Are' drives forward with filtered pad chords that accompany jazzy sax and vocal cuts while conversely, 'Z To The Jz' brings in a moodier vibe with its jazz samples and smoky drums.
Do not miss the chance to get such a gem of a record from Damien Zala!, C L A S S I C ! A must to have in every djs collection. Essential Item No Digital .

'Decadubs 5' is a vinyl-only double-pack companion to 'Hyperdub 10.4', the fourth and final CD in Hyperdub's series of collections throughout 2014 to mark the label's first decade in existence. Both 'Decadubs 5' and its full-length parental set explore the club spaces opened up by house, garage and techno, as viewed through Hyperdub's singular filters. Side 1 leads out with 'Lambeth', a long awaited previously unreleased track by Burial, with an unusually triumphant and - compared to recent extended montages - relatively direct 2step feel. This is followed by the low slung tech-garage of Kode9's 'Oh', while on the flip the whole of Side 2 is given over to the lush deep house of Cooly G's 'Love Again'. Side 3 opens with the fathoms-deep bubbling bass and synth washes of DVA's extremely psychedelic 'Monophonic Nightmare', then Dorian Concept turns in a quirky remix of Martyn's classic 'Mega Drive Generation', which originally appeared on Hyperdub's fifth anniversary compilation in 2009. Side 4 reveals another classic from the vaults in the shape of Cooly G's skeletal house cut 'Him Da Biz', and the EP comes to a close with energy levels turned up on Funkystepz's 'Vice Versa', a track much in demand since it first appeared on Kode9's 'Rinse 22' mix compilation from 2013.




E C2 | Martyn - Mega Drive Generation (Dorian Concept Remix)

Listen to this if you like: anything that we've put out last year, wrapped together in a lovely double pack of a 12 and 10. The Roundup part 1 is the first part of an annual recurring event: the big Heist family remix EP, where all artist names get put in a big bowl, and by luck of the draw, find themselves remixing (and remixed by) another Heist artist. We've got Max Graef remixing Detroit Swindle and turning the break up into a full on Graef-affair. The label heads themselves take 'The Organ Grinder"'s 'Change all the time' and turn into a deep Chicago-esque tune and completing the 12, there's Frits Wentink's take on Bluebottle, experimenting with his trademark shuffle. On the 10, Standout track of the first year of Heist 'Jungle' gets a lovely rework by Nachtbraker, giving it a more 4x4 feel than the original and The Organ Grinder who turns Frits Wentink's Schrewd into a full on Filter house cut. The artwork is handmade and photographed by Baster. Sincerely yours, Lars & Maarten

Seattle/San Francisco based Techno label, From 0-1 issue "Time Dilation", a 12" vinyl/digital EP by label director, and co-owner Milkplant (Justin Pennell) of the San Francisco Bay Area. Andrei Morant and From 0-1 co-owner Sone join in as remixers. Including an endless groove and two locked grooves, this piece of vinyl is meant to be as utilitarian for the vinyl DJ as possible. 'Dimension 4' starts off the EP with a classic big room percussive Techno vibe, closing in an endless groove. Following is Andrei Morant's absolutely punishing treatment of Dimension 4, a tearing lead, and searing percussion point to the main room. Two locked grooves, one percussive, the other synth based close out side '0'. On the flip side Milkplant's 'Spherical' reps a tight "future-retro" vibe; elements of old Motor City Techno dominate with a bit of grit to keep it dirty. Sone dials in a perfect toned down, more expansive and hypnotic interpretation of Spherical showcasing slowly evolving filters and modulation fit for the wee hours of the morning. 'Plasmic' is included only as a digital extra in this release- tough, noisy, and a little tripped out with a bit of swing to keep them on the floor.


All12" vinyl jackets are custom screen printed by Bloom Press in Oakland, California, with design curation by label art director, Rubidium. Mastering and distribution by Dietrich Schoenemann of Complete USA. Marketing and promotions by Pullproxy Berlin.

Zeitgeber and L.B Dub Corp split the second in Stroboscopic Artefacts' series of fifth anniversary records. Zeitgeber is the collaborative project of SA label boss Lucy and Dutch techno royalty Speedy J. Their joint alias birthed an exceptional long-player last year and has since been presented as a b2b act at festivals and clubs around the world. 'Totemism' is their first officially released output since that album, and is every bit as compelling. 'Totemism' opens with distant, reverberating bells and a thin film of hiss and crackle. But, one minute in, heavy and incessant drums cut through the ambience, hitting you straight in the chest. The surrounding atmosphere evolves and filters in-and-out of the mix until, halfway through, the track takes an unexpected turn with an elastic bassline and acid squelches. Then, the drums hit you again. This is an 11 minute masterclass in widescreen, narrative techno from two of the scene's most experienced and inventive producers. Luke Slater, a man of many aliases, slips into L.B Dub Corp mode for the B-side of this record. This particular moniker of Slater's generally trades in raw, culturally-inspired house music, though has also appeared on Stroboscopic's Stellate series with two deep and beatless dubs. For his contribution to SA's 5 Year anniversary, Slater re-visits a classic club cut of his own, delivering 'Take It Down Again (In Dub)'. 'Take It Down Again' is a brilliantly-realised exercise in tension, dub delay and mixing board creativity, all made to shine by a dose of oddball musicality and sampling. This version of 2010's 'Take It Down' is more restrained and tonally varied, equipped to instil a brooding and tribal darkness on the floor.

Steve Frisco, of Serie Limitee fame, brings us the latest bundle of hot tracks to hit Wax Classic in 2014. As the title suggests, Steve takes us on a journey through low fidelity sounds and production techniques. Think dark, moody, yet crunchy basement house tracks with inspiration taken from all over the U.S and the rest of the house world. It's a generous offering as well. Six whole dusty tunes for those diggers who are looking for something with a bit more range than another record of generic piano laden, house-by-numbers pieces that still seem to be flooding the record store shelves in 2014. The moods do vary from track to track, but they remain very reflective and almost melancholic at points. The title track, 'Adventure in Lo-Fi', is the deepest of the lot with filtered chords, echoing claps and a sporadic kick pattern that often clears way for the track's bass hits. Now, compare that to 'Da Brooklyn Beat'. Whilst the former had a distinct sunrise/sunset kind of feel to it, the latter is definitely more of a club affair. Skippy snare hits and a strong organ lead the track on, and at the risk of utilizing very overused buzzwords such as 'raw' and 'ruff', this track, and the rest of the A-side for that matter, certainly captures that essence.Stalwart Wax Classic fans will no doubt be picking this one up to add to their collection. However, I strongly recommend this EP as a jumping in point to the label for any newcomers out there!

Mit weltweit über 3Mio. verkauften Einheiten & 10 Studioalben hat die schwedische Modern Metal Band In Flames ihr Genre nicht nur neu definiert, sondern sich auch weit über dessen Grenzen hinaus etabliert. Nach der Gründung durch Jesper Strömblad 1990 gelang ihnen mit ihrer 2. LP "The Jester Race" der Durchbruch und gleichzeitig ein gefeierter Genre-Klassiker.
Nach ihrem mit Gold ausgezeichneten letzten Studioalbum "Sounds of a Playground" kündigt die Band jetzt ihr neues Album "Siren Charms" an. Dieses dokumentiert ganz genau, wo In Flames 2014 stehen.
Die LP wurde in den legendären Berliner Hansa Studios eingespielt und bietet neben der ersten Auskopplung "Rusted Nail" 10 weitere Tracks, die sowohl alteingesessene Fans begeistern werden ("In Plain View") als auch Crossover-Potential haben ("Through Oblivion").
"Siren Charms" sichert In Flames die Stellung als Metal-Band, die niemals still steht, und es ist zweifellos eine Band, die immer wieder Risiken eingeht, Grenzen überschreitet und sich selbst ebenso herausfordert wie ihre Zuhörer. Dass die Hindernisse die Band nicht umgebracht haben, ist offensichtlich - aber die Frage ist, ob In Flames jemals so stark gewesen sind

Disco Bucuresti is an audio homage to Romania's capital, Bucharest. Growing up between the city's communist blocks of flats and maturing in the city's underground discos left a distinct creative mark on Andrei Idu (The Legendary 1979 Orchestra). Ever since leaving Bucharest for Amsterdam, Andrei felt the need to tribute the place that shaped him. However, it was only until recently that he found the means necessary to express the feelings he felt. Thus, records released during the 70s and 80s in Romania as sole sample source, analog drum machines, delays, filters and reverbs, all recorded in live takes come together in this evocative EP.

Among a thousand projects, Para One is back on the dance floor with 'Club", a new album which was not meant to be one, but believe it or not: it's serious stuff! 'The 'Passion' album is the background for this, as I decided to reshape it for my live act, explains Para One. I've rebuilt the tracks entirely, making live versions for festivals and bigger clubs. Then I found myself with a totally different album. It's not a live album. The tracks have been modified and reinterpreted. It's my tribute to Soulwax's 'Night Versions". Subtlety was not really an option, it had to hit kind of hard. The tracks had to sound real in a club situation and people are now meant to dance to them! It's also a 'treasure hunt' kind of record with many references. It sounds like my DJ sets, when I mix many things and styles, old and new, because that's how a club should sound. It's a place where memories belong.' The pop, melancholic and highly danceable 'Passion", was meant to be listened to at home or on quiet dance floors, but 'Club' only retains the melodies and vocal hooks. It smells like sweat, joy and abandoned bodies. Packed with English acid house piano, huge beats, elegiac vocals, references to UK Garage, EDM filtered french touch and house, 'Club' dives into the heart of dance music. It's a 3.0 rave emblem, a daring record to make people dance without selling out.

Phiorio's Animals release has been a labour of love. After co-running Metroline Limited for the past 6 years and after a series of digital releases and remixes for both Metroline and Retrometro (as well as Letroom Limited and MBF amongst others), Phiorio's vinyl debut on ML finally sees the light of day. The choice of remixers has also been laborious but over at Metroline HQ we are really happy that in the end we managed to secure two stunning reworks by the likes of the more and more in demand French producer Doubtingthomas (with releases on labels such as Hummingbird, Organic and of course, Metroline Limited) and the super-hot up and coming Russian producers Adjustment Bureau. The EP opening track Ninja Cat is a deep and quirky number. The groove is tight with heavy drums and crisp percussions. An acid b-line leads the way while atmospherics pop in and out until an off key synth appears and adds a level of spookiness to the proceedings. Doubtinthomas remix take things into even deeper territory. His landmark reduced drum programming is very noticeable here with shuffled up percussions, lush pads and a very heavy bass to guarantee maximum impact on the dancefloor. Superpupider is a no-nonsense straight up dark and dirty techno tool. It's all about the groove with this track, the drums lead the way with clever use of filtered hats and percussions. That said, Phiorio's ability with abstract sound is still in evidence with plenty of spooky voices, pads and noises firing off in all directions. Adjustment Bureau remix of Ninja Cat completes our tasty package. The Russian duo's (soon to release a stunning debut EP on Hypertone) approach is in line with modern trippy and experimental techno and has a distinctive 'Romanian' vibe. They used the original elements of the track and added extra percussive and vocal samples to create an epic, intricate and groovy paranoid funk number.

Ladies and gentleman, we would like to introduce to you; Nachtbraker (Dutch for Night Hawk). This energetic dude from our hometown might not be a familiar name to you, but don't let that put you off. If you're into the darker shades of deephouse with a serious chunk of funk, have a listen to this. Gute Laune is the track that really captures Nachtbraker's style in all its facets. It starts of modest with basic percussion and a nice bended pad, but when the bassline comes in, every element in the track makes your head bop, ass shake en smile grow. The real kicker is the changeover where the long pads makes way for a set of filtered stabs that give the whole track the energetic vibe it deserves, without going overboard. The whole track just exudes the detailed way Nachtbraker produces his tracks, and we love him for it. Bluebottle is a wholly different animal. This track keeps a lower pace with a crunchy pad and mysterious synth setting the tone. With a lovely ever-changing bassline, a couple of changeovers in the percussion and a clever gate-effect on the pad, don't be surprised if you find yourself humming this tune several hours after the first listen. Last but not least, there's Xantippe. Xantippe is hard to classify because of it's two-faced character. What starts of as an atmospheric broken beat dreamy tune, jumps into a raw burner after the break with a haunting buzzy loop. Bassface-WTF-material for the after hours. Nachtbraker delivers a quality EP that is definitely one for the heads, more than for those in search of peaktime bangers. We're excited to share this solid slice of deephouse that represents everything we started the label for: Great music, no matter where it's from or who made it. Sincerely yours, Lars & Maarten

Blank Code start 2014 off strong with their latest EP Rituals of Submission, produced by Luis Flores, with remixes by Black Asteroid and DJ Hyperactive. The opening track Discipline starts off with a nice creepy atmosphere supported by a solid kick and just the right amount of percussion to hook you into the tracks core rhythm, which stays consistent while the supporting percussion keeps the intensity of the track in constant motion. Black Asteroid's Discipline remix gives the track a whole new perspective, while staying true to the original's excellent use of classic elements. The straightforward kick and up­beats work perfect with this track's industrial bassline, while cleverly programmed analog synths carry the track with slow triplet rhythms, and quirky stabs that drift off to space.

Luis Flores' second original composition, The Word, follows the same philosophy as Discipline, with many elements coming together to form one solid rhythm. This is a huge sounding track with intricate metal percussion and pitch modulated stabs that form a dark and inciting hook which is overtaken by filtered claps as the track progresses. DJ Hyperactive gets down to business with his remix of The Word and lets his Chicago roots shine through as hats on all fours and hard hitting claps are used to raise the energy sparked by the deep kick and well processed stab.

6th Borough Project are back with the follow up to their 2011 debut One Night In The Borough. A hectic couple of years have been lived out by Graeme Clark and Craig Smith during the making of this LP with Graeme continuing to play week in and week out as Revenge and setting up his new imprint Roar Groove whilst Craig has established the brilliant Fifty Fathoms Deep label. Studio time has been tight to say the least but that
hasn't stopped the duo from pulling out all the stops and ensuring that this LP surpasses the already sky-high benchmark set by it's predecessor. Followers of 6th Borough Project will be pleased to hear that all the low-slung, loopy, hypnotic vibes we've come to
expect are present and correct whilst the duo have still made sure to push things forward with their sound, bringing a minimalist, housier edge to many tracks.

Things kick off with the Intro setting the mood, coming on like a bizarre dream that's over in a flash but seems to include an entire episode of your life and succeeds in encapsulating the sentiment of the entire LP in 40 seconds! Soul, Beach, City, Gig, Party,
Energy, Relaxation.... It's all here.
On Our Love we find a brilliantly lop-sided shuffling groove laying the foundation for some classic 6BP-style vocal chops, easing us in gently with the warm up vibes. Things take a slightly darker direction on U Know U with this heads-down track, a crisp, stripped-back beat being joined by filtering pads and a distant vocal for company. Think It Over and In Your Arms follow seeing the boys building things perfectly and increasing the party
atmosphere with two floor-friendly tracks which look set to be just a couple of the DJ's favorites from the LP. Dropping things down a notch we're treated to the beautiful slow-mo gem entitled Through The Night before heading deeper still on the tripped out, dark and dubby The Call Back.

Back 2 Black picks up the tempo again for a percussion heavy workout with just a hint of Africa emerging through the echoing stabs and sub bass. The party continues with Read
My Mind which brings us some brooding, up-tempo warehouse vibes to get immersed in before F.E.E.L and a brand new LP version of previous single The Vibes pushes further still in a darker, more abstract and clubby mood. Finally, we wind down with Walk Away, making the perfect close for a brilliant, fresh and original LP from a highly talented couple of producers whose passion and knowledge of music shines brightly here. Difficult
second LP clearly not an issue with 6th Borough Project!