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Entitas, is the second instalment of Jay Clarke's BLACKAXON imprint, and sees the label boss bring out the big guns in the form of three distinct and diverse cuts. First up is Entity, an autonomic monster which has sweat soaked energy written all over it. It's auspiciously one part deep, and more than double just as twisted. Things are far from linear with Entity, it's mercilessly the sum of it's own parts, and has the hallmarks of a true big room pleaser written all over it. A truly authentic demonstration of the old adage 'It's not where you are going, it's how you get there'. Entity is certain to be reached for by all of the major players on the Techno circuit for a long time to come.
On the flip, Ghosts Of Acid is the Yin to Entity's Yang. A plangent and introspective groove opens up with wispy cymbals, cleverly placed rims, hats and claps. Exploratory and evolving subaqueous acidic forays dare the listener to dive in a little deeper, with the reward being a very proficient and efficient take on the now classic Acid sound.

Existence Through Perception seeks to carry on where the previous two tracks left off. A driving groove and sinister hook lets up briefly midway to a near triumphant fanfare, only to be brought back to it's mischievous overture. A perfect late night/peak time track for DJ's looking to elevate the bar of their set just one more rung higher.

Support From:

(Phase), DVS1, Ben Klock, Answer Code Request, Luke Slater, Norman Nodge, Chris Liebing, Lucy, Oscar Mulero, Speedy J, DJ Deep, Tommy Four Seven, Cassegrain, Inigo Kennedy, Slam, Brendon Moeller, Nihad Tule, Kr!z, Psyk, Jonas Kopp, Truncate, Samuli Kemppi, Juho Kusti, Anthony Parasole, Eric Cloutier, Jereon Search, Moerbeck, Truss, Distant Echoes, Yac (I/Y), Philippe Petit, Thomas Hessler, Randomer, Volte-Face, Fundamental Interaction, Arnaud Le Texier, Ame, Angel Molina, Tensal, Kwartz, Stacey Pullen.
Credits

The stage is set from minute one on Clay Wilson's new 4-track EP, "Skandha," his second release for The Bunker New York.
The eponymous first track begins with a familiar techno throb, but is quickly overcome by a blooming swirl of coruscating synthesizer pulses that seem to gather inside the listener's head, a phenomenon Wilson seems particularly interested in: "I've never been into really straightforward club techno that works in neat 8- and 16-bar sequences," he says. "I'm always looking for things that have forward momentum, ways to escape that 'block-y,' downbeat-centric feeling that you find in so much contemporary techno. For me, it's the drone—what's going on in the background—that serves to hold my interest."

Nowhere is this more apparent than on the record's second track, "Cataleptic." The meat of the track is its tightly-wound techno core built from insistent, hypnotic percussion, but it's what's happening in the background that keeps you coming back for more: The sound of a babbling brook and a plaintive, meandering bird call ("the only actual recorded animal sounds on the record," notes Wilson) gently give way to the tintinnabulation of a distant bell, whose meditative timbre brings to mind a Tibetan singing bowl. It turns out that the naturalistic, organic sounds in many of Wilson's tracks are often just that: "I make field recordings all the time, actually—on my phone," he says. "I've found field recordings have been a great way to pull things along, never repeating themselves, but also never being so upfront as to draw your attention away from the synths and drums."

That's a key point, and make no mistake—for all the flora and fauna lurking in the background of Wilson's productions, they're designed for the dancefloor through and through. "Feres," the EP's third track, slows down the pace a little bit, keeping time with a static kick-hat pattern while chunky, stepped percussion laid on top makes the track feel remarkably dynamic. The final cut, "Pict," seems to slowly unfurl like flowers at dawn, while a ghostly vocal sample (or merely something approaching it) repeats itself underneath it all.

While at times the drawn-out shimmering tones in Wilson's work may recall modern minimalism, "getting into techno, and more specifically techno production, was kind of a way for me to get away from (formal, classical musical) training," he recalls. "I had been headed down an open-minded, anything-goes path with a compositionally-geared approach, and ... all those paths led to techno." And for that, we're glad.

Front Left represents a very special corner in a very special spot on this planet. Every week the front left people gather together to celebrate techno music.
Techno is what brings us together and what makes us family to one another. We rejoice listening to it, produce it, talk about it, share it and mainly dance to it.
It is incredible how one physical spot creates so such magic and human connection.
This label brings the productions of the front left people to the world.
In the first release, you will find Elad Magdasi, a heavy dancer and an emotional producer. His productions are wide-ranged and loaded with a true rave spirit, combining an acid-line treatment and his melodic point of view. In the last two years Elad's productions turned to the techno side, and now he feels it's time to finally let his music out. Gathering knowledge and figuring out his style brought him to this point. His love for raving is what keeps his mojo going and brings the inspiration to his life.
Joining the first release is Matrixxman (Charlie Duff), the talented producer who's been shaking dance floor with his hit "Protocol" for already 2 years and now releasing his debut album on Ghostly. Not surprisingly, the connection between Elad and Matrixxman was also formed on the Front Left.
The first release combines a slick collection of sounds.

Phase 2: Expansion Unit returns with another three tracker of bass-heavy electro robotics, lush techno variations and beautifully tweaked Pro One madness.

Over the last sixteen years Moods & Grooves has amassed a staggeringly impressive label family that includes names like Theo Parrish, Mr G, Kyle Hall, Rick Wade, Andres & Kenny Dixon Jr. aka Moodymann. This May the legendary Detroit label returns with a seminal thirteen-track album from veteran DJ & producer Joe Le Bon entitled 'House Music Love Music'.

With this new LP Jarno Eerola aka Joe Le Bon demonstrates his inimitable production prowess, garnered from a musical career spanning more than twenty years and encompassing releases on labels such as International Deejay Gigolo Records, Pro-Tez, Plastik.FM and Blumenbeat. Alongside his own output the Berlin-based artist has written tracks and remixes for numerous producers, most notably composing DJ Hells chart- smashing remix of Tim Deluxe 'Transformations' which saw six continuous weeks at number one on Beatport.

Jarno's polished production ability and aptitude for exploring diverse sounds and rhythms whilst maintaining a resolute warmth and depth to every cut is the most prevalent footnote across the course of the album. For 'Ghosts On Cassette' the Berlin-based producer works whirring space-like atmospherics over hypnotic beats and shuffling snares to dish up a smooth and captivating opener. 'For Yasuni' and 'The Road Is Under Repair' get worked over subtle synth patterns and crisp percussion to offer up some of the more emotive provisions on the album. This in contrast to the deep driving beats of 'House Music Love Music' and the more club-ready tracks like '82 Degrees' or 'Like Cotton Deep Orchestra' truly exemplifies the wide-ranging nature of the album.

All in all Joe Le Bon has structured a sublime body of work that can be enjoyed in the comfort of your own home or the middle of a dance floor, each and every track oozes depth and sits as a true testament to his abilities in the studio.

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

Butane's Alphahouse imprint kicks off 2015 with Pablo Inzunza's 'Convenience' EP, featuring three original cuts from the Chilean artist and a remix from the label-founder himself.

Pablo Inzunza is a Chilean DJ and producer most notably known for his recent long player on Butane & Someone Else's Little Helpers imprint, but also acknowledged for material on Germany's Highgrade, and French imprint Monique Musique. Inzunza has explored an array of organic and abstract Techno styles across the early stages of his career and here we see him push on with more powerful dance floor focused cuts via the Alphahouse imprint.

The original mix of title cut 'Convenience' opens things up here and sees Inzunza employ a hypnotic 303 hook as the driving force, while ghostly synth textures flutter away in the depths of the composition and sparse rhythms further fuel its undulating groove. 'Hypnotica' follows and as the name would suggest lays its focus on an entrancing, percussion and pad-led groove, which subtly unfolds over its five and a half minute duration.

Opening up the flip side of the release label-head Butane offers up a tougher, heads down take on 'Convenience', treating us to his typically rough and ready production style with gritty drum lines laid over the original's squelchy 303 lick. Then finally to round things off we have the third and final original from Pablo entitled 'Intimate', which takes on a more house tinged aesthetic this time with organic percussion, sweeping synth stabs and stuttering bass tones.

Menacing beats by New York's DJ Spider are presented here in a double vinyl package. There is plenty of material here for dance floor damage as well as mental!!!

Having released on the label before (including a collaboration with Lake Haze last time out) Lisboa based producer IVVVO now returns to Creme Organization with a new three track solo EP. Showcasing his unique take on analogue house, here he conjures up his most unique work to date, Up first, 'Raised' is a dishevelled concoction that sees organic hand drums rattling over heady kicks, with groaning vocals, ghostly pads and afro mutterings all adding to the intoxicating brew. 'Our Journey' is then an acid flecked, lo fi techno rave up with car alarms, barking dogs and white noise textures that all come over like an urban soundtrack as much as anything else. It's captivating stuff that gets rounded out with '0000', a slurred, smeared bit of ambient with awkward key progressions, wordless vocals and tons of crunchy texture. Few people sound as idiosyncratic as IVVVO and this EP proves that in spades.

Requiem for a dreamstate. It's possibly somewhere between heaven, hell and high water, down the Thames Delta towards Eden. It may involve techno and a distorted state or simply mates sat listening to music together, drifting on the open sea of their minds. This is Jon Hopkins' world, not so much joining the dots as colouring the whole damn picture in.

After releasing his debut album 'Opalescent' at the rookie age of 21 in 1999, he's gone on to work with Brian Eno and David Holmes, produced King Creosote and via Eno, worked on three Coldplay albums. He released the breakthrough album 'Immunity' in 2013, which was nominated for the Mercury Prize.

The story arc with which Hopkins succeeded on 'Immunity' makes its appearance on Late Night Tales too with a perfectly sculpted excursion on this widescreen mix. . Opening with the unreleased 'Sleepers Beat Theme' by composer Ben Lukas Boysen, ghostly pianos skip elegantly hither and thither, among rising strings, as on Darkstar's 'Hold Me Down'. Nils Frahm is here, his sonic palette perfect for the job, while labelmate A Winged Victory For The Sullen contribute 'Requiem For The Static King Part I'. Sigur Ros offshoot Jónsi & Alex's heroic 'Daniell In The Sea' sends us forth towards the Baltic with tears streaming.

Beats occasionally appear, as on the Grace Jones-sampling 'Yr Love' by Holy Other or the pair of Black Country acts Bibio and Letherette, whose 'After Dawn' is almost spry in comparison to the minor key symphonies on display here. The perfect contrast to this comes from Alela Diane's wistful 'Lady Divine' or even Four Tet's mesmerising 'Gillie Amma I Love You', with its enchanting kids' choir. Exclusive to this release, Jon Hopkins provides a startlingly vulnerable new piano version of Yeasayer's 'I Remember'.

Poet and fellow Brian Eno collaborator (their joint album 'Drums Between The Bells' was released by Warp in 2011) Rick Holland narrates the exclusive spoken word closer 'I Remember', underpinned with additional sound design by Hopkins.

"Putting this album together was a unique opportunity for me to present music that I have been listening to for years, free from the constraints of a club setting or from trying to stick to one genre. I chose tracks not just because they have been important to me but because of how they sit together, putting as much thought into the transitions and overall narrative as I did into the track choices. I mixed by key and by texture more than anything else, using original sound design, pivot notes, and often recording new synth or piano parts to link things together in a way that flows as naturally as possible." - Jon Hopkins, December 2014

Awesome experimental Techno from Belgrade. 300 copies pressed on 180 gm vinyl.

Saxophonist Sean Khan is a multi-instrumentalist distinguished for his ability to fuse traditional jazz with contemporary styles. His involvement in the West London broken beat scene as band leader of the cult soul/ jazz outfit SK Radicals and as a collaborator with the likes of the Bugz in the Attic collective, have seen his unique breed of jazz put to full effect in London's clubs, at nights like the legendary bruk orientated 'CoOp'.

In anticipation of Sean Khan's second album on Far Out Recordings: 'Muriel', this four track 12' release features remixes from 4hero and Nicola Conte with father of British Neo-Soul, Omar on vocal duties. 'Don't Let The Sun Go Down' is uplifting and sophisticated dance-floor jazz. Dego and Marc Mac (4hero), two pioneers of broken beat, jungle and UK dance music as a whole, re-work the single from 'Muriel' into a delicately crafted downtempo number, which tames the original somewhat with club focused intentions, yet retains all of its fluidity and groove. Along with the eminence of rhythmic elements, Omar's instantly recognizable, thick and soulful vocals are sparsely and subtly layered to create beguiling, unconventional harmonies. Elevating the track to its peak, Sean Khan's exquisite alto sax solo demonstrates both his technical prowess and keen understanding of jazz's history, whilst working to carve out its future. The B side hosts Nicola Conte's remix of 'Things to Say'. Renowned for his input and influence in the lineage of acid jazz and fusion, as a producer, Dj and musician, Nicola Conte provides a deeper, darker take on Sean Khan's unique blend of jazz. A bouncy 4/4 house beat skips along beneath contemplative, whirring Rhodes, while the ghostly soulful vocals of Diana Martinez and samples of Sean Khan's expressive sax playing see the track taken to more introspective yet still clearly club focused territory. The final track is the intro to 'Sister Soul', previewing more material from Muriel, Sean Khan's forthcoming studio album on Far Out Recordings.

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

Having made a nice splash for himself with his recent outing on Delusions of Grandeur and recent string of quality releases on his own imprint, Shadeleaf, we are proud to welcome in thatmanmonkz for our next release on Kolour LTD. He serves up three immense cuts of deep, underground rhythms with that infamous "touch of soul" that is quickly becoming his own trademark. Remix duties were laid upon someone we've had our eye on for quite some time now - Glenn Astro. His unique musical vision & precise execution is on full display with his remix of "Remember" and the end result speaks for itself. Needless to say we're very excited to have him in! Altogether it's an exceptional package of tunes more than worthy for the 16th slot in our Kolour LTD catalogue!

EAN steps up to bat for Cosmic Bridge, bringing 4 tracks of heavyweight, eyes down 80/160-range BPM rollers blending footwork rhythms with deep soundscapes and tinges of Jungle and Techno. His past work has come in the form of remixes for Om Unit's Searching on Stretched records, Ghostpoet's Cash and Carry Me Home and his contribution to Project Mooncircle's recent 10 year anniversary box set entitled Pictarus. More recently Civil Music enlisted him for a blistering re-rub of XLII's No Cure which has been very well received.

The phrase 'feux follets' from which Archipel 105 draws its title, comes from the Latin ignis fatuus, and translates as will-o'-the-wisp. The etymology reaches back to old folktales in which ill-intentioned spirits would cast an atmospheric glow at night, in order to lead weary travellers astray. Today, the term refers to ghost-lights - artificial light reflections caused by decomposing organic emissions. Anyway you choose to understand it; this music contains the mysterious and unattainable. Feux Follets are meant to depict an elusive (and perhaps also illusive) ambition. A tense equilibrium colours the constant, foundational sounds with aleatory movements. The compositions are detail-oriented, and boldly explore their tangential elements.

The debut release on new label Constant State comes from UK duo Al Gobi.
The pair (Ian Blevins & Phil Moody) had a steamroller of a year in 2013 with releases on Disco Bloodbath, Rothmans, Culprit LA and Audio Parallax. 2014 looks set to continue this trend with Al Gobi material signed to Messalina, Keep It Zen and Flight Recorder, amongst others. When they manage to get time together in the studio their output continues to shine.
While the original mix of a Cup of Tea is dark and unsettled - beautifully balanced bass notes and piano cutting through heavy, storm-pregnant air, Cottam's remix is the distillation of a second wind. His tribal, twisted, acidic treatment of this 3am concrete bunker anthem never overwhelms the piano refrain, instead giving it a new life, like the ghost of a party suddenly bequeathed fresh purpose as tired legs find boundless energy.
Meanwhile, Pueblo Grande brings something different to the party. Something harder, more insistent... Submerged snares and synths like razor wire combine with a raw bassline that stomps eloquently from 1994 to present day without missing a beat - and possibly inventing a few on its way - to create something wonderfully unique and very, very special.

Following the release of virtuoso new singles Mr. Cover Up and No-Operative across January and February, seminal DnB duo State Of Mind are to present their fourth album, Eat The Rich, on March 31st. To be released by Black Sun Empire s Blackout imprint, the album celebrates some of the best work of their career to date, underlining their remarkable pedigree and with it, their ability to fuse darker, hard-edged sounds with genuine dance floor mcredibility. Famed for their rugged basslines, steely percussion and huge, driving synth lines, State Of Mind also showcase different sides to their craftsmanship on Eat The Rich, with a number of vocal features taking centre stage. As well as NZ
rapper PercIEve s appearance on the storming, tear-out anthem Mr. Cover Up, the duo also join forces with promising songstress Sacha Vee on the wonderfully eerie Black Raven; although still bullish in style, it highlights a softer, more thoughtful side to State Of Mind. Heavyweight second single No-Operative is also an album highlight, as are further future dance floor anthems like Where You At and Put It On, as well as two unique collaborations with fellow revered DnB figureheads Black Sun Empire. To compliment the rich diversity of sound on offer, the idiosyncratic, breaks-driven heat of Fast Life and the outer-worldly, synth-laden intro on U Control Me complete what is a stunning, career-defining album.
With a European tour in support of the album set to commence in March, ahead of further headline dates in Australia and New Zealand throughout April, Eat The Rich is set to cast State Of Mind into the spotlight like never before.

In the 1970s the American composer Henry Flynt started a series of pieces under the title - New American Ethnic Music'. In so doing he worked together native styles of music such as blues, Country or Hillbilly with electronic production methods to make something altogether new. So far in Germany it has never been attempted to rework folklore electronically for a compilation. However, this picture changes if one redefines the idea of who the population is. Incomers have brought new - national anthems' to Germany, which means: even the Portuguese Fado, the African Gnawa, the Croatian Klapa or the Vietnamese Quan ho are these days at home in Germany.
With the cultural project - Heimatlieder aus Deutschland' ('Native songs from Germany') founded by former Spex editor Mark Terkessidis and label manager Jochen Kühling all the various styles of traditional folk music now found in Germany has been collected. Thirteen of the songs recorded for the project have now been transformed by contemporary electronic producers to present a - New German Ethnic Music'. But why remixes For one thing electronic music has recently focused a lot on the past (Ghost Music, Hypnagogic Pop etc.) - electronic editing is well suited to follow the effects of the immigrant music which the - imaginary national anthems' has created. Furthermore the project's instigators were curious how - electronic musicians' would handle folk music and folk songs which is a hugely difficult task. To this end artists were sought out who could get along with the idea of each music style and who are known to already have experimented with the human voice. The results are as varied as the music styles and Djs involved. Some melodies remain completely intact while others are abstracted beyond recognition.
Margaret Dygas' associative approach ensured that she presents a polish song about a girls arranged marriage with a claustrophobic feeling. With his remix of the Marrabenta of Mozambique Mark Ernestus has continued the rhythmic experiments he is known for with Jeri Jeri. Thomas Mahmoud translated Gnawa into dub and finally Ulrich Schnauss turned the song of the Italian Chorus of - Donni So' into a hymn for the horizon-expanding power of migration.
Hopefully this compilation will also expand some horizons.

Margaret Dygas - Impulse Remix



Thomas Mahmoud - Arab Disco Dub Remix