Buscar:get it

White Vinyl

Greyscale's most personal release and perhaps the most important for label owner grad_u aka Aleksandr Martinkevič. Earlier this year, Alex was diagnosed with cancer. Certainly a horrible thing to hear and there has definitely been some low moments in certain stages of the journey. At just 36 years old, many of us are shocked that such a young person can develop cancer. After some research he found out that younger and younger people are randomly getting cancer studies show. An alarming trend to learn about. However, there has also been a lot of other learning and different new levels of appreciation for the simple things in life as a new higher level of inspiration in making music has manifested. And this new release encapsulates that. Alex has also felt a duty to make things better for others. Focusing on what can be improved as he wants to highlight research, treatment and the overall communication of this disease to more people in the electronic music scene. Part of the proceeds from this new album will be donated to the National Cancer Institute in his homeland of Lithuania.
Alex wants everyone to know that catching these signs early and getting regular checkups are your best chance at beating cancer. Thankfully Alex did this also and his treatments have gone well. Alex plans still stay steadfast with his label and his life. Simplifying things with the love from his family and friends, focusing on his hobbies
along with making sure he makes his health his #1 personal priority.
The name for this full length release is titled 'T2NO'. grad_u's most introspective work yet features 8 emotional tracks overall. The honesty expressed in this album is blunt and to the point. These tracks take you on an audio journey thru grad_u as he expresses his feelings thru the entire process in each stage.
Beginning with two wonderful ambient tracks named 'Genetic Mutation' & 'Carcinogen'. In the opener, Chords rain over you as a beautiful ambient melody peeks out underneath it followed by a more stark and hazy field of interference. From the gentle opener to the more tension filled follower, the personal journey of grad_u is
developing before your ears. The b-side of 'Neoplasm' is a bit more somber but also has a ray of light in it.
Introspective as it can get, this is a true journey through an uncertain future. 'MRI scan' needs no explanation....
The second half of the album begins the understanding of what grad_u was going thru. 'Malignant Transformation' gives off that feeling of the human body working thru the science. Fight or flight becomes the theme for this track. 'Adenocarcinoma' almost gives off the sound of cells rebuilding themselves. Sci-fi meets real life in this epic battle. 'Resection' continues this scientific sounding reflection on the body healing with sounds of movement and time. As if the body is working itself out. Lastly and triumphantly comes the closing
track 'Waking up to a New Life'....
The emotional journey of this album isn't for the faint of heart. It leaves nothing to the imagination. It works thru all the emotions that can come with such and life changing event like having cancer. We want to thank grad_u for sharing his story with us. This story can happen to anyone...
"I would like to take this opportunity to express my great gratitude to doctors A. Dulskas, G. Jurevičienė, V. Sidorov and all staff in Abdominal Surgery and Oncology Department at NCI. Thank you for your expert care and for saving my life.
Also, big big thank you my family and closest friends for all their love and support during this difficult period of time and always being there for me."
Special thanks to Lithuanian Council for Culture, associations AGATA and LATGA for support of this special project.
Part of proceeds from the album will be donated to National Cancer Institute, Lithuania

We are both very pleased to introduce Johannes Brecht to the Siamese family! A highly talented, trained and decorated musician is a fair description of Johannes and we’re proud to call him a friend and sometimes even a mentor.

This record has been in the works for a long time and since all of us wanted to have this EP out on vinyl too it took some time to get everything in place. As expected the three originals show a wide array of Johannes Brecht's world of electronic music. It's about creating something with love and passion rather than staying on safe ground

Freda Payne’s two-step classic rare groove “Tell Me Please” gets it’s long overdue first release on 7” single. Since first recorded and released in 1978 it has remained only as an album track from Freda’s “Supernatural High” LP that year. This Skip Scarborough composed song also featured on Expansion’s ‘Skip Scarborough Songbook’ but a 7” edition has never appeared before. It is accompanied by a Pam Sawyer/Marilyn McLeod song

“I Get High (On Your Memory)” produced by Tony Camillo. Originals of this on Capitol Records from 1977 exchange hands for small fortunes making both these songs on one 7” single an essential purchase. Both high quality definitive luxury soul.

Lumière Brillante has already been a big track for Noir and NM2 in 2015/2016. Now its pressed with Phon.o's fantastic remix for the vinyl release. No date for a digital release of this yet. Get it while it HOT !

Brazilian artist Bruno Furlan is the next to make his mark on the famed Hot Creations imprint. The two-track release, The Speakers Pump Like This, is set to bring the heat and make serious waves on dancefloors this year.

Title track The Speakers Pump Like This transports you straight to the club, with its peak-time pace, sonic synth stabs and prominent vocal cuts. On the flip, Moving gets to work with a sharp kick-drum and infectious vocals, as subtle builds and drops move throughout the track, whilst retaining the solid, rolling groove.

Hailing from the diverse and electric city of Sao Paulo in Brazil, Bruno Furlan started his DJ career while still a teenager and quickly became a highlight in the Brazilian electronic music scene, capturing the attention of artists such as Claude VonStroke, Chris Lake, Solardo, Green Velvet and Amine Edge & Dance. Always driven by a great love for his art, Bruno has created his own unique way of approaching music production, resulting in a standout discography and performances throughout the world. In addition to his own record label Whistle Records, Bruno has released on labels such as Dirytbird, Relief, , Sony Music, SOLA, Nervous, and more.

30 years as a full-time touring nightclub DJ sounds like one hell of a career, and for Kenny Summit it's as much of a milestone as it is a turning point. Having shared the stage with greats such as David Byrne, Stevie Wonder, Chaka Khan, George Michael, Kylie Minogue and Prince over the years, Kenny took that influence and inspiration and decided it was time for him to get behind the mic too.

‘Burnin’ is a song written, produced and performed by Kenny Summit that speaks on a desire that's been burning inside of him for three decades. Across those 30 years he’s made many an influential friend too, three of which come on board to remix ‘Burnin’ - the late great Paul Johnson, D&B icon DJ Aphrodite and Brooklyn legend DJ Spinna.

"I caught the fever for house in 1990 and by 1992 I was booked for my first DJ gig at New Jersey's famed Zanzibar nightclub where house legend Tony Humphries held court on a weekly basis. Something changed that night, a fire started and its been building, growing inside of me and now it's time to put paper to pen and write my own songs."

Clearly influenced by the artists Kenny's worked with over the years, ‘Burnin’ is a culmination of one man's journey through dance music; from the Nile Rogers-ish 70s guitar riff to the whining Steely Dan-like keys, to the lush strings and synth pop stabs that would make Moroder blush, the track itself is masterfully produced and punctuated with Kenny's unique uplifting vocals, sang in a manner as if David Byrne and Boz Scaggs were put together and yet still very uniquely Kenny Summit.

Up on remix duties the late great Paul Johnson, Chicago's shining star, serves up a dark, very much after house vibe, that still keeps that trademark Paul Johnson sound. Drum & Bass icon DJ Aphrodite applies his unique sound to ‘Burnin’ with a stellar remix the D&B community has been patiently waiting over three years for. And finally, long-time friend, Brooklyn's DJ Spinna steps up, who after hearing the track commented 'this needs a dope DUB! Leave it to me, imma hook you up bruh!'. The Discoelectric Dub does not disappoint.

Single release from the forthcoming album “Catharsis”, produced by Sven Va¨th & Gregor Tresher The second release before the upcoming mighty new Sven Va¨th album “Catharsis” gives you another hint at what´s coming at you! Let us tell you, we couldn´t be more excited for everyone to finally experience Sven´s new masterpiece! But before we unleash the beast, we decided to release a second single. This time containing two absolute highlight tracks. If you have heard Sven playing in the past months, you will recognize both, as they were pivotal moments in almost every set! First up we have “Mystic Voices“, a track that was created during the early stages of the album production with Sven gathering ideas and words to finally record the unmistakable vocals during a hectic tour through India, and Gregor spending days and nights on the other side of the planet in his studio to process the stream of inspiration. When the two finally sat down together in the studio, the track emerged quickly. Some would call the instant vibe that magic that every creative mind is longing to find. “Butoh” is a raw and dark force, influenced by Japanese dance, an art form that deeply touched Sven during his travels on Nippon Island. It´s an otherworldly sounding track, still based in the Techno Realm but heavily twisted by a long break that introduces Japanese percussions that eventually get topped by the haunting vocals of Cana Hatsushiba.

D’Arabia is back on House of Disco with come sleazy Italo flavour across two originals, ‘Continuamente’ featuring DJ Rou and ‘Sempre Meglio’ featuring Brine. If that wasn’t juicy enough already, Giovanni Damico and Hot Toddy get given the keys to the HOD residence laying down remixes of the title track with their own distinctive touch.

HDSN is an artist of distinct talent. Even he´s still flying under the radar of the broader audience chances are high that you came across his musical output that is singularly creative. His work not attached to any trends. Instead, he operates within a deeply personal sphere, working influence from experiences spanning his lifetime and old-skool records that inspire him. He made his name with balmy house thumpers carried out over twelve instalments on NBAST for the best part of more than five years now. So it´s no wonder that he follows up with a beefy sequel to his previous released joint “For My People” a release that did connect as closely with people’s hearts as it does with their feet in the club. “I House You But Love” marks another fruitful EP for the producer. A record that feels like he’s just cracking the next piece of the puzzle. By the time you get the opportunity to experience these tracks live, there’s no doubt they will pull you into the get down groove. That is to say: NBASTWAX013 is vivid and it will move you. Grab your copy #datsoulthang

Reissue of Elizio De Buzios's "Tamanquiro". Remastered and pressed on 45 RPM!

Sitting a good 90-minute drive away from Rio de Janeiro’s crowded beaches and packed tourist hot-spots, Campo Grande is not a neighbourhood that attracts travellers from around the World. Traditionally it is home to the city’s lower middle-class, whose aspirations of moving up the social ladder were played out in a suburb that has always been solidly working-class.

Campo Grande is home to Elizio De Buzios, a Brazilian musician who started playing music in the late 1970s and early 1980s. De Buzios began as a drummer, before learning to play guitar and starting to compose and sing his own music. When he turned 18, De Buzios joined a local band formed by some of his friends and other like-minded local musicians: Sol da Terra. The band mostly played samba in neighbourhood bars and small venues around Camp Grande, but De Buzios was interested in more than just samba. While he naturally admired great samba composers such as Cartola and Beth Carvalho, his musical pass went far beyond Brazil’s national music. He also loved MPB and bossa-nova and at home he listed to Joäo Bosco, Milton Nascimento, Luis Melodia, Tom Jobim, and many bossa-nova singers.

In 1980 De Buzios was noticed by a local representative of international major label Polygram, who gave him the opportunity to record two songs. He was excited, so started searching for inspiration for the songs he would eventually lay down. He found that inspiration close to home while passing a neighbourhood shop which made and sold clogs. After noticing a display of then fashionable Portuguese clogs outside the store, De Buzios popped inside to talk to the owner. It turned out that he was a tamanqueiro – as clog-makers are traditionally called in his native Portugal – and was as passionate about music as he was about the footwear he made. Thus inspired, De Buzios returned home to work more on the lyrics and music.

The next day, he headed into the studio to record the song, with Vale Ribeiro, who later went on to produce tracks for Marcos Valle, behind the desk. With Ribeiro’s assistance, De Buzios managed to record two songs in one day: ‘Tamanqueiro’ and ‘Sou Um Louco’, a ballad with English lyrics blended into the mostly Portuguese text. From the start, it was clear that ‘Tamanqueiro’ would be the single’s A-side. Incredibly catchy and funky, with some subtle disco elements, the song remained distinctively Brazilian thanks to the use of the cuíca. Listening back all these years on, De Buzios’ lyrics seem almost spontaneous, carry the track forward, and make it almost impossible not to sing along. Its infectiousness and funkiness made it an instant hit with the first few people to hear it.

When it was released, responses to the song were enthusiastic, even if it never became the Brazil-wide smash it should have been. It resonated well in the local clubs and on the radio, but unfortunately the marketing was handled by an inexperienced Polygram employee who failed to adequately promote the track. As a result, the record sank without trace and De Buzios’ dreams of stardom evaporated. Having just started a family, he realized he could not live off the uncertainty of being a musician. Instead, he got a job at city hall as a civil servant, a role he continued until his retirement a few years ago. ‘Tamanqueiro’ and ‘Sou Um Louco’ remain the only two songs he ever recorded.

In the early 2000s, with the rise of diggers’ culture, ‘Tamanqueiro’ slowly surfaced again. It became a sought after, hard to find seven-inch single, finding its way onto the airwaves once more and into the ears of a new generation of listeners. Some started appreciating the song so much that it was referred to as the “best-Jorge-Ben-song-Jorge-Ben-never-recorded”. And they are right: ‘Tamanqueiro’ does have that Jorge Ben-straight-forwardness. It’s a completely honest song that’s almost impossible not to fall in love with. Thanks to this remastered reissue on Rush Hour, De Buzios may now get the props his sole record so richly deserves.

Now for the good news: De Buzios is still singing in local bars and clubs in and around Campo Grande. He is surprised, but also incredibly proud, that the record he had almost forgotten about is appreciated so much by a group of music lovers he didn’t even know existed. But above all, he is happy that more than 40 years after the recording session, the record lives on – not only on this re-release, but also in his weekend sets in the bars of Campo Grande.

After a little stop animae returns with its new limited edition series. Three tracks that reflect our style, a minimal and mental sound for a journey that leads to another dimension.


Played by: Cristi Cons, Priku and Arapu

For the eleventh release on their main catalogue Haven are excited to invite French king of spooky crunched-up rollers and Wrongnotes member Draugr to the label for the first time, alongside some half-time madness from Headless Horseman on the remix.

The A1 gets us moving with Gjöll, where creepy atmospheres, disembodied vocal hits and noisey drum rhythms crash together in a concoction of hard techno destruction. The A2 continues this formula in Völva, with rolling synth lines and demonic ambient textures leading in to an infernal animalistic wail breaking in to the mix following the breakdown.

The B1 continues the destruction on the flip with Vigrid - a hectic drum rhythm work out buttressed with spiky metallic patterns and further ghoulish sound design and sampling. Headless Horseman closes out the record with his remix of Gjöll, transforming it into sinister half-time stepper ripe with droning atmospheres and powerful drum hits to finalise another offering of club ready mania from Haven.

So strong was EPMD’s epochal debut album ‘Strictly Business’ that it spawned three all-time classic singles, providing part of the soundtrack to, arguably, the height of the original Golden Age. When discussing the landmark artists of that era – Public Enemy, Boogie Down Productions, Eric B & Rakim – the duo of Erick Sermon and Parrish Smith are certainly in the conversation. And when it comes to all-time duos, they might be at the head of the table.

The original release of ‘I’m Housin’ came in 1989, and the only previous 7” release was confined to the UK – it now fetches sky-high prices. Hence this reissue couldn’t be more timely, showcasing just how fresh E Double E and PMD sound over even the most rudimentary but feverishly catchy of beats.

That was their genius – trading ‘slow flow’ punchlines over deceptively simple backings – and that’s exactly what you get here. The loop of Aretha Franklin’s indelible 1971 gem ‘Rock Steady’ does all the heavy lifting musically, the only adornment a brief vocal snippet taken from their own ‘It’s My thing’ – EPMD is a world premiere.

At a time when sampling was still in its infancy, and before producers started to pride themselves on obscurity, and on chopping up samples creatively, this was the approach of many a hip-hop song, and rap was none the poorer for it. When you have voices as distinctive and strong as EPMD, less is more.

Dublin producer Lukey has his finger firmly on the pulse of the sounds emanating from Berlin and London’s newly awakening dancefloors, as proven by this stellar debut for Carpet & Snares’ LAB series. Contemporary club music is all about opening up the space between genres and filling it with something at once referential and new, and this EP is no exception.

Other Worlds Vol. 1 effortlessly blends house, techno, electro and breaks into a mature sound world that’s both tight and expansive, funky and tough, contemplative and right down to business. Get moving with Vol. 1, and watch out for Vol. 2 coming soon!

repressed !

Serious holy grail business on this rare 12-inch extended disco version of Lorraine Johnson - The More I Get, The More I Want on Prelude Records. Original copies of this promo-only cut will set you back £400+ and it doesn’t take a genius to work out why. Produced by Jesse Boyce and Moses Dillard and mixed by Rafael Charres the man behind the mixing desk for classics such as Rare Pleasure - Superfine Feeling and Keith Barrow - Turn Me Up, it’s a dream team cohort that created this Paradise Garage classic.

Backed with equally enthralling, Boyce and Dillard produced, Francois K mixed ‘Feed The Flame’, also loved by the Garage dance floor.

Tropical Disco Records have once again delivered four scintillating feel good summer disco jams courtesy of the latest edition of their well loved vinyl series. Perfect for those gloriously sunny outdoor events, BBQ’s and beach parties alike their latest EP is another must have slice of black gold.

Scouring the globe for the freshest cuts Volume 22 is another multinational affair combining the skills of Colombian duo Vagabundo Club Social, Mexico’s Monsieur Van Pratt, Italy’s Infradisco and New York’s Roland & Brother Rich.

Opening affairs are the hugely exciting duo Vagabundo Club Social with their track ‘Costero’. They are producers who nimbly fuse dusty Latin grooves with cutting edge production techniques and dancefloor know-how and here have delivered yet another feel good dancefloor smash. ‘Costero’ is quite simply a DJ’s dream track which will do the business at any end of the set whether you need to get the crowd on the floor or tear the proverbial roof off.

Mexico is currently at the leading tip of the disco charge and Monsieur Van Pratt is one of the stand-out producers from a country bursting with talent. ‘Jazz Player’ pulls absolutely no punches combining jazz cool with disco know-how for a track which wins on all counts. Sublime brass solos sit atop a huge funky gem of a bassline. ‘Jazz Player’ will tear dance-floors up worldwide as the world starts to rediscover its long since packed away dancing shoes.

Italy’s Infradisco is up next with ‘Aungasana’ and it’s the perfect track to follow on combining many of the traits that both Vagabundo Social Club and Monsieur Van Pratt utilised on their tracks. Expect huge jazzy horns, funky bass and tribal vocals building up to a monstrous organ groove which raises proceedings to fever pitch. Infectious and energetic, it’s another seriously classy dancefloor moment.

Closing out the EP are New Yorkers Roland & Brother Rich with the exquisitely titled ‘Roger Moore’s Living Room’. Paying homage to the James Bond legend it’s the ideal track to sip brandy and toast the characters of yesteryear in that velvet smoking jacket you have always wanted. Deep and Jazzy with the essence of the 70s flowing through it’s DNA ‘Roger Moore’s Living Room’ is a track so effortlessly cool that even Blofeld would be throwing some shapes.

Tropical Disco’s Volume 22 is a sublime selection of timeless and wonderfully cool tracks which will be the perfect accompaniment to sun soaked events this summer and well beyond.

Support across Mi Soul & House FM.

Nervous Records, the iconic label synonymous with the rise of house from the streets of New York City, will mark 30 years in the music industry by releasing the celebratory compilation LP ‘Nervous Records: 30 Years’ on October 1st (Part 1) and October 15th (Part 2).

Featuring original mixes of the label’s biggest tracks, plus remixes by some of its most celebrated acts, ‘Nervous Records: 30 Years’ is both a celebration of the past and of the future. Featuring a who’s who of electronic dance music, the long player sees names including Louie Vega, David Morales Darius Syrossian, Tensnake, Monki, Franky Rizardo, Danny Howard and more take on iconic Nervous cuts: ‘You Make Me Feel Mighty Real’, ‘Treat Me Right’, ‘Future Groove’, ‘Feel Like Singing’, ‘Get Up Everybody’, ‘Break You’, ‘Hot’, ‘End This Hate’, ‘Unspeakable Joy’, ‘Can Ya Tell Me’, ‘Jerk It’, ‘The Anthem’, ‘It Makes A Difference’, ‘Learn 2 Luv’ and ‘Don’t You Ever Give Up’.

The album marks one of the most enduring, extraordinary legacies to grace America’s illustrious music history, not just in electronica but far beyond. Founded in 1991 by Michael and his father Sam Weiss, and recognizable immediately by its distinctive character logo, the label grew rapidly, in no small part due to Michael Weiss’ practically unmatched passion for discovering new music.

“Louie Vega and Kenny Dope woke me at 4am on Tuesday night, Wednesday morning from their studio telling me they had something really different that I needed to hear,” Michael recollects. “I asked if they could play it over the phone. They said if I wanted to hear it I had to come to the studio. So of course I got myself up, got dressed and went there. That “really different track” ended up being ‘The Nervous Track’, a tune that became our signature release and was also highly instrumental in the emergency of London’s ‘Broken Beat’ movement.”

The label’s willingness to take chances on fresh sounds and innovative concepts rising up from the melting pot sidewalks of NYC ensured a body of work that has become a living musical history of the city. House cuts ‘Unspeakable Joy’ and ‘Nitelife’ (Kim English), ‘Get Up (Everybody)’ (Byron Stingily) and ‘Feel Like Singing’ (Sandy B) bump up against hip-hop anthems like ‘Who Got Da Props’ (Black Moon) and “Bucktown” (Smif-n-Wessun) and reggae cut ‘Take It Easy’ (Mad Lion); soulful flows from Mood II Swing (Kim English ‘Learn 2 Luv’, Loni Clark “Rushing”), Armand Van Helden (‘The Anthem’) and Nuyorican Soul (‘Mind Fluid’) sit alongside seminal techno singles like Winx’ ‘Don’t Laugh’. The young artists and producers who joined the Nervous Records’ family have gone on to become some of the most hallowed and celebrated dance acts of all time: Louie Vega, Kenny Dope, David Morales, Tony Humphries, Roger Sanchez, Armand Van Helden, Kerri Chandler, Kim English, Byron Stingily, Josh Wink, to name just a handful.

“We did a release with Josh Wink under his Winx alias entitled ‘Nervous Build-Up’,” Michael said. “It did well and it was obvious how talented Josh was. Subsequent to that release I was pretty persistent in asking him to continue to play me his new demos. During one phone conversation he said, “Mike I’m gonna play you something over the phone but don’t laugh when you hear it.” That demo ended up being ‘Don’t Laugh’, which became one of our biggest international hits and still to this day is one of America’s earliest and most impactful techno hits.”

As much a celebration of the label’s future as it is of their past, Nervous Records: 30 Years is but a marker in the imprints’ history, a clear sign of where they’ve been and also where they’re going. With 30 years behind them, the label’s determination to unearth new raw diamonds in the rough is as unwavering as ever.

“I’ve always been one to look at what others are doing (the industry at large) and think, “ok, are they doing this specific thing for a reason, or doing it because everyone else is doing the same thing” and make my decision based on that,” says Nervous Records’ General Manager Andrew Salsano. “In an age where data metrics and analytics reign supreme, I remain steadfast that they should be complementary to your decision and not the sole indicator to make one. So many songs today are written with 15 second hooks in mind for social media, and while there’s nothing wrong with that business model you will always be chasing the wave instead of carving out your own path and identity.

“My primary focus for the sound of the label has and will continue to revolve around signing good songs and music that has the ability to react at the street level first. The best results come from artists that are firstly given a bit of local love that grows into a global impact. Fresh ideas that express child-like curiosity and artists showing vulnerability in their music are also something I look for, artists and producers that are not making music with certain markets in mind, but rather their own style and signature that is unique but able to straddle the fine line of underground and overground.”

Still as raw, as underground and as finely tuned to the dance floor as they ever have been, perhaps the secret to the success - and the longevity - of Nervous Records has something to do with that hard, dogged, no-holds-barred NYC edge that runs through the veins of the label. With the next generation of producers rising from the clubs of New York, one thing is certain; Nervous Records will be there to find them, nurture them and bring them to the world at large, over the next decade and beyond.

Charlotte de Witte continues her fantastic year with brand new EP, Asura, on her KNTXT label. All three of the tracks on this release will be exclusively included in her BBC Radio 1 Essential Mix, which is scheduled to be broadcasted on 18th of September.

As well as being back on the road and serving up her high-intensity DJ sets at the world's best clubs and festivals, Charlotte has also been busy in other areas. She has forged a new alliance with Apple Music and is now curating multiple exclusive mix series including a monthly KNTXT Residency Mix and KNTXT Active, which sees the Belgian artist and her label further investigate the connections between high-performance music, sports and BPMs. She has recently remixed the hugely influential trance classic 'The Age Of Love' by Age Of Love' alongside Enrico Sangiuliano and continues to A&R essential new tunes for the label.

Says Charlotte of this EP, "with Asura EP I’m trying to give you a little insight into my musical influences by going back to my roots. We’re speaking about a young Charlotte who, about 12 / 13 years ago, got indulged in the world of electronic music by going to her first underground clubs and raves. From electro and techno to acid core and hardcore to psytrance. This EP flirts with the soundscapes of the latter."

This EP finds Charlotte delve deep into her own past in electronic music with plenty of psychedelic influences. Opener Asura is a brightly lit techno track with big chords that bring the colour. They are sleek and metallic and sure to get hands in the air, with acid sounds and rumbling bass all adding extra weight and depth to this fantastic opener. 'Soma' is another dramatic and psychedelic track with hard-edged drums pounding away beneath celestial chords. They are mysterious and emotive and bring colour to the darkness. Last of all comes another big, psytrance-tinged and emotional roller coaster in 'Stigma' with its all-consuming techno groove and bass that sounds like it's fired from a machine gun. After an acidic breakdown, the drums roll again and even the biggest festival crowd is sure to be swept away.

Charlotte de Witte leads from the front once more with her standout new Asura EP.

After putting out re-edits of two never released before tracks by the
seminal italo band Rainbow Team, Tojura are back on Full Time Production with a fine brand new EP, ready for the years of the raving fans of the label.

"Itria Valley" (in homage to the Apulia one) is such an irresistible
modern disco number which receives a smooth treatment by M.B. Edit in addition to the Funk rework by Hector Romero & Ayala, followed by a Latin Afro Dub version delivered by Les Inferno that's perfect for
getting weird on the dancefloor during the later hours of the evening.
These are 4 glorious tunes for grown-ups dancefloors.

Revered Danish producer and live performer KÖLSCH follows his 2013 hit album "1977" (KOMPAKT 276 CD 107) with the new full-length "1983", again chaining up heroic techno tracks for a grandiose sonic journey to the vibrant heart of today's dance floor. PRIORITY RELEASE

Coupling contemporary production pizzaz with nostalgia-tinged soundscapes and sweeping melodies, this opus acts as both a skilfully composed portfolio of personal memories and a sublime collection of crowd-charming cuts - a modern classic in the making, coming from a master of his craft.

1983 features collaborations with Gregor Schwellenbach, Waa Industry and WhoMadeWho's Tomas Høffding.

Hot on the heels of SPEICHER 84 (KOMPAKT EXTRA 84), featuring club crackers DERDIEDAS and TWO BIRDS, the latest full-length offering from KÖLSCH is very much a travel album: "When I was a kid in 1983, we used to drive through Europe every summer on the way to the south of France", he explains. "A lot of my early music memories stem from these long travels, as we would listen to all my father's favorite records on the cassette deck. After getting a walkman, I would make up my own soundtrack for travelling, with early electro and hip hop creeping into my life. My father of course did not like it, and it never grace the official cassette deck of the car, obviously"

These trips became a primary source of inspiration to a hungry young mind forced to sit on the backseat of a car for several days: "they were also journeys through the seasons. In Denmark, it would be spring time, so I could nearly see us driving through spring into the summer. The scenery would change, and so would the mood in the car." Informed by the symbolic quality of these slightly gauzy childhood memories, KÖLSCH's unique melange of emotional and functional elements works exceptionally well for the full-length format - a seamless transition of musing introspection and explosve expression, where catharsis never seems far away in dance-ready techno vignettes like MOONFACE, UNTERWEGS or PACER.

From beatless opener and title track 1983 to the filigreed piano banger DIE ANDEREN or the bleep-infused synth-fest E45, each cut operates as its own little time capsule, storing bits and pieces of recollection and then magically transforming them into epic, beat-driven soundscapes. Confronted with other producers' input (and other memories), these traits find themselves extended in the most interesting ways - TALBOT, THE ROAD and CASSIOPEIA (also featured on KOMPAKT EXTRA 79) make excellent use of GREGOR SCHWELLENBACH's emotive orchestral flourishes, while BLOODLINE's lyrics come to life thanks to the distinct timbre of TOMAS HØFFDING of WHOMADEWHO fame. A new powerful take on an earlier collaboration, PAPAGENO 30 YEARS LATER not only rejoins WAA INDUSTRY on vocal duty, but also ends the album on a wonderfully elegiac, yet hopeful note - basically turning water into wine, as we've come to expect from KÖLSCH.