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Cryovac Recordings seeks out characters that give depth to the soundscape of Detroit's Underground. Cryovac individuals believe in their path and stand for their art. Ray7 is a multifaceted musical being surviving an ever evolving technosphere. He is an unknown hero that holds his own sonicly on any side of the planet. Ray7 provides the power needed for the Cryovac machine to hatch a new plot. Cryovac exists due to the efforts of craftsmen and artists that work together to make something unique
Side A starts with an ancient Zulu chant that provides protection as well as a funky sort of techno break pop. The next track grinds in to a ruff and gritty narration of ghetto mind-set under the influence of classic electro. A constant roll moves the last track into addition and subtraction inside of a spartan groove that breaks and turns with strength.
Side B opens with a busy 4/4 be-bop lackadaisically drifting with dreamy synth over the chatter of voice, hi-hats, and reverb broken down by a 303 buzzing. Track two is a dark and sloppy incomprehensible subliminal sing-a-long building and ebbing around a stark kick and clap.

Mastered and cut by Rashad Becker at Dubplates & Mastering in Berlin.

Hana's first and self-titled LP was recorded in Autumn 2010 at Facta non Verba and consists out of 5 tracks which are techno oriented with disposal of experimental and abstract elements.

Reviews

OMG Vinyl
Hana s S/T LP is easily the best promo records we ve gotten in months. This Greek duo has somehow, almost entirely below the radar, released one of the most exciting electronic records of 2011. Their wobbly brand of techno sometimes chugs ahead at full-speed, other times easing back into a wider waver, almost resembling some weird, warped IDM. I will be shocked if this record doesn t get wider appreciation very soon. Whether that happens or not, we fully recommend it, track one down.

Cyclic Defrost by Oliver Laing
Granny Records duo Hana come correct with their first album, offering a refreshing take on techno and IDM variants in the vein of Jan Jelinek, Raime, Actress and hints of the mighty Chain Reaction label. Mastered at Berlin s Dubplates and Mastering by none other than Rashad Becker, a name that often appears in the run-out groove of artists who inhabit a curiously funky techno-not-techno netherworld Hana s debut self-titled release grows in stature and listening enjoyment with every spin. With a sense of fun and adventure inhabiting the grooves, Hana (who are also part of label-mates, Good Luck Mr Gorsky), explore experimental timbres and ghostly vocalisations with a lightness of touch that belies their recording credentials.

Starting off with an abstract, Clicks and Cuts style intro, Liv slowly finds the sweet spot between mutant Detroit electro funk, a hint of the indie/dance territory of Matthew Dear and the abstract, yet rhythmic 12 releases on the Beatservice label, by Norwegian duo Information from the mid 90s. Obermaier implies the groove to begin with, until a wrong-footed man-with-two-left-feet rhythm leads into minimal acidic flourishes. Album opener SM heads in a Ricardo Villalobos vs. Nonplace Urban Field direction, as the lopsided rhythm and sepulchral vocals add a haunted edge to proceedings. CR80 uses beautifully syncopated live drums and urgent female vocals, and adds a driving, belligerent synth riff falling somewhere in between DMZ and Gary Numan. Echoic, boingy sounds threaten to derail the beat, but somehow it manages to maintain, reminding me of Shed and A Made Up Sound; more in overall feel than in the specific sounds. For those that enjoy abstract electronics that work just as well on headphones as on the dance floor, Greece s Hana are a duo to watch.

Textura
Hana's self-titled debut album arrives saddled with a (literally) cheeky front cover one would more associate with a 70s band like Wild Cherry than a Greece-based techno outfit formed in Thessaloniki last summer. Recorded in fall 2010 at Facta non Verba, the five-cut release finds Good Luck Mr Gorsky members Thanasis Papadopoulos and Thanos Bantis hunkered down in their chemical lab concocting formulae to go along with their material's stripped-down techno beats. Using analogue synths, samplers, and sequencers, the duo brings a decidely experimental edge to their productions, sprinkling as they do liberal doses of burble and flutter over bass-heavy techno rhythms.
The opening track, Sm, sets the scene with a heavy low-end pulse thudding alongside a steady kick drum and joined by acidy synths and percussive effects that suggest a lighter being repeatedly flicked open. On a slightly more aggressive tip, the B-side's Cr80 adds truncated vocal yelps to its bleepy, elephantine throb. A dubby dimension emerges in the track, too, when echoing waves drift repeatedly across the huge bass that slithers across the track's underbelly. The album's most elaborate track comes last. Liv opens beatlessly with flickering shudders and what could pass for the amplified workings of an ant community but then progressively fills in the dots with an insistent beat pattern, voice fragments, and even the demented meander of accordion playing. Though Hana hardly rewrites the techno guidebook on the release, it's nevertheless a pleasurable listen, in part due to the multi-dimensional experience provided by the vinyl format and the always superb mastering work done by Rashad Becker at Berlin's Dubplates & Mastering.

Solar Phenomena welcomes singular rhythm master STL for a new EP that offers four fantastic tracks of dubby house. It is the label's fourth release and finds the Something label boss in a typically inventive mood.

First track 'Spy vs Spy' opens things with shuffling drum loops and eerie synth details that hypnotises over seven minutes. 'Atomsmasha' has wooden hits and rough shakers peppering a soft, imperfect groove as awkward chords bring an unhinged edge to the mix. On the flip, 'Summer Breeze & Brotherhood' has loose keys doing an off kilter dance over STL's trademark low-key drums where 'Freebird' zones you out with long held chords and detuned keys as cloudy, dusty kicks bring a barely-there groove deep down low. You know what to get from STL by now, but at the same time you can never get enough.

Just in time to warm up your winter, Hell Yeah revisit the peerless recent Tsuki album from ambient and Balearic masters Tempelhof & Gigi Masin. Two tracks from the album are included on this new package, as well as a remix from Jex Opolis. Trancendental and dreamy drums characterise the new age 'Corner Song', which is the sound of laying back on a boat and bobbing up and down on gentle seas at sunrise. It's organic and soothing to the max.
The other original is 'Flying Man', a suspensory film that feels like floating amongst the clouds on a humid afternoon.
Wordless vocals add a heavenly feel to the lush and all encompassing chords and pads and nothing sounds sweeter than being lost in this one. It is Corner Song that gets remixed by Good Timin' and Running Back man Jex Opolis.
Famous for his disco infused synth pop sound he is a master of his own musical world. His version is eight minutes of laid-back tropicalia. Slowly churning drums and knotted funk-bass prop it up as an eco-system of pops, clicks and hits add to the steamy and sensuous groove. It's grown up disco for cocktails on the terrace and will have you hugging anyone in earshot.
Support by Calm, Lexx, Leo Mas, Apiento, Zambon, Max Essa, Kito Jempere, Buena Onda Djs, Balearic Gabba Sound System...

Bugsy hails from Milan where he is resident and co-host of the brilliant Take It Easy club night which brings many of the finest house DJ's to the city and remains packed week in and week out. With his featured producers Astroloop at his side Bugsy has come up with a quality debut loaded with fat, low-slung deep beats and Detroit-inspired grooves for Freerange entitled the Svegsy EP. The lead track sets the mood with mid-tempo loping beats that have 'Freerange' written all over them. We can't get enough of the simple yet satisfying warm-up vibe which oozes from this track. Understated, warm and relaxed yet with a bump and grunt which calls you to the dancefloor.
A2 is a track entitled New Vision where we find a straighter groove underpinned by a restless, pulsing, analogue bass and shifting block chords. With it's heads down attitude and simple, rolling arrangement this is Jimpster's personal favourite for banging on a big system. Flip over for the aptly titled Ghost Song. Here we get off-kilter vocals and fleeting glimpses of a melody which then disappear into the ether. All in all a slightly surreal yet groove-heavy track which has a charm of it's own.
Rounding off the EP we have Chicago house legend Boo Williams on the remix of Ghost Song, where he takes a minimal approach with a hint of acid but keeping his soulful touch. Enjoy!

On the Corner's DJ tool and eclectic favourite, Versus is back for a second instalment. There are some familiar faces occupying this tasty wax and some new comers pushing the needle further-out On the Corner.
As 2015's Versus sold-out we'd already acquired some fresh production talents and sent stems over to new and old friends alike.
Get your atlases out as we criss-cross the globe introducing you to artists from afar-afield as Nairobi, Manchester, Pune, Iringa, Detroit, and South London.
We kick off with Jinku, self-proclaimed space monkey hitting OtC wax for the first time. The producer is one-fifth of the East African Wave, a collective of young DJ Producers who are revolutionising the East African arts scene. As a 'sponge' of different influences, Jinku lays down a balearic reworking of fellow Nairobian, Makadem's 'Nyako'.
Of the returning artists none is quite as mysterious as the elusive and incomparable Black Classical - discordant-Ra-like organ meets Brazilian poly-rhythmic percussions bludgeoned with a heady slab of rave breaks make for 'Jeje': already a firm fave of Gilles Peterson.
Boundary pushing Contours brings a new swing to the 'Agama' groove, following the underground smash from Al Dobson Jr back where it all started with the release of Tamar Collocutor's first album in 2014.
Wonky psychedelic perambulations through the Traab al-Beidaan (Sahara) from Sam Jones who adds another construct to his mantle. Group as Salaam have a cassette release forthcoming and this construct comes from field recording sessions conducted during a feast out in the shadow of Africa's largest Windfarm by label head Pete OntheCorner. Vibes!
On the B-side, sprightly producer Daisho from the Indian hotbed of Pune brings a layered percussive heater hanging in the atmosphere with ominous synth b-lines and rightly tipped to be in the realms of and early Four Tet mover.
The release enters into a deeper shamanic dance territory in the final third: the beathead's elixir, M.I.X.G. and their massive xylophone (Embaire) are back and gets a heavy acid rerub as South London's FYI Chris appear OntheCorner wax again with
'Drop the beat'.
Peter Croce, head of Detroit's Rocksteady Disco brings it deep into the early hours for this euphoric 4am fix of OntheCorner's
afro-latin-electronic party experimentalists, Penya.

Forriner is Lee Forster and Oli Worriner.
I made music together with Lee for years (alongside Mick Rolfe) as Last Waltz.
He also worked as Lizards with James Hadfield (James released solo for Me Me Me 02),
Oli Worriner, is a talented young northerner who's already making a great name for his solo output, both under his own name and his Traela Alias, as well his label 'Tunnyl Recordings'
I'm really flattered that they've let me release their first full solo release, and I love how they've brought out each others deeper and more emotive sides in these 2 tracks.
Shit Robot is a hero of mine. I basically wore out the grooves on a bunch of his DFA stuff from just over 10 years ago, and I've avidly bought everything he's released since.
I met him this summer for the first time when we shared the bill at a festival, and was so happy to find that he's also lovely guy in real life.
They say you should never meet your heroes, but I don't subscribe to that as this meeting led to not one, but two fantastic remixes for Me Me Me 08.
The originals are a bright mix of melodically analogue left leaning house, while the remixes zero-in on a punchier dancefloor vibe, with an epic version Goodnight, as well a more heads down Disco Dub.
So yeah, links within links, and keeping it Northeastern again I guess.

It´s quite some years after Starburst , the first record on Internasjonal the japanese duo Traks Boys, consisting of Kawasaki based producers and Djs Crystal and K404 did for us. But a short 7 Years down the road the magic is still there. "Be With you" and "Weekend Lights" are mesmerizing, sparkling with creativity and beauty. "Be With you" is modern disco cut up of the finest while Weekend Lights is a hypnotic stringinfected warm groover that we can´t get enough of. Finally Weekend (Light) Lover and Friend of the House Axel Boman takes it all home in the biggest of ways.
Reduced with care and then build up again to one the neatest breaks that we heard this year.

Astray is the Sublabel of Away, Berlin. Tracklist A Wild Hunt AA Sahara Pump Theory B Wild Hunt (Mark Broom Remix) BB Hell For Leather INFO H4L After Discrete Circuit kicked off ASTRAY, another offshoot of the Berlin party series AWAY, the other half of their joint venture AWAY Soundsystem is in charge for ASTRAY's third installment. H4L, the Berlin-based live studio project, explores some tougher, jam-driven experiments resonating from two decades of warehouse reverberation experience. INFO Wild Hunt EP The title track starts off the release with a dusty, stripped-down pursuit. Marching forward with impelling kick drums, H4L creates an overall organic groove incorporating percussive, distorted sound particles, glancing up in and out of the mix like misty voices. 'Sahara Pump Theory' follows a more robust approach driven by vivid stab sequences and gnarly acidic bass elaborating a vibrant exchange of flow and energy. One of these unfolding weapons that know how to tickle that genuine peak-time madness. Speaking of weapons, UK producer Mark Broom is no stranger to that discipline after hitting dance floors with his ensouled workouts for more than two decades now. Following his old-school compass by calibrating the essentials of groove and melody, Broom's remix of 'Wild Hunt' throws the originals' core parts overboard to empower his highly effective hi-hats as the driving force rocketing into a distant atmosphere. 'Hell For Leather' tops off H4L's package with an unexpected hit-and-run sonic attack. Whether the competing broken and off beats, the IDM rooted drum patterns or the leftfield yet industrial jazz design - this reckless trip is by no means an easy finish, more like a feral crash course about an (almost) forgotten principle: electronic music is either an adventure or nothing at all.

FH10 marks Onirik's debut EP on his very own Finest Hour imprint. The A side, with Kaleidophon' and Vivid', carries the slightly darker and trippier sound recently embodied on his solo label, Garage Hermétique. On the flip, a more traditional stripped down deep house affair, an 11 minutes groover for the early hours, aligning perfectly with the label's aesthetics.

Tenderlonious lays down his fute for this LP and goes back to the MPC, with help from the illusive Dennis Ayler. Comprised of ten cuts 'Brick City' takes the listener on a journey through Afro-House, Funk, Jazz, Rare Groove, Boogie and Broken Beat - something for everyone here! Brick City (4am)' and Buterfy' groove efortlessly whilst synth leads interject over tasty chords, all the while being supported by solid bass lines - these two
will undoubtedly set a strong pace on the dancefoor. 'Funky Booda' does exactly what it says on the tn, it's a straight Funk classic! Its infectous groove and soaring leads are sure to have you clapping your hands and stomping your feet. 'Be Ur Friend' is a fery Afro-House number - reminiscent of one of Tenderlonious's early releases 'Bob's Riddim.' There's also more hip-hop inspired selectons like 'Brick City (4pm)' or 'Pepe's Walk,' which bump hard and have strong traces of Sa-Ra and J Dilla infuence.
The record comes complete with quirky skits like 'Bootsy' and 'Ferndale Gateaux,' which blend in and out between the other tunes allowing the record to fow efortlessly from beginning to end. There is something for everyone on this album. It's the kind of record you can play at home from start to fnish or take out to the club as an essental dancefoor fller.

After two hip-hop albums (Got To Get Down in 2016 and Impact in 2017), the unpredictable Afro Latin Vintage Orchestra comes back to its fundamentals with a new instrumental album:
MORPHEUS which repositions the band in the spirit of their previous spatial, almost cosmic albums Last Odyssey (2012) and Pulsion (2015), both released on Ubiquity Records and acclaimed by spiritual and fusion jazz lovers, library music fans, as well as rare grooves diggers (ALVO's first 4 vinyl albums now being out of stock).
Each new ALVO new release is a millesimal which evolved and learned from its predecessors.
Masta Conga, who's still leading the herd, has for main purpose to explore the musical space-time, gaining ground on never before revealed tracks, followed by his now faithful team of atypical and
farseeing musicians.
Compared to Miles Davis and his On The Corner by Wax Poetics, the band dives again in this realm of psychedelia and beyond', in particular with the contribution of Indian musicians. Twirling
around violins, superimposed patchy keyboards and effects, just as if their conductor wasn't already sufficiently influenced by Pierre Boulez and others such as Hiroshi Murakami... The result is however more uncluttered and loaded with multiple vibes than its predecessor Pulsion, which already carried the ceremonial characteristics of cult movie soundtracks. Tracks Moksha',
Air' and Morpheus' are the perfect demonstration, and far beyond their names. Simple grooves, lunar, but terribly efficient, emphasized by a mix that puts focus on these fiddly contributions of ethnic instruments, on percussions and horns on a drip of delay, reverbs and other space-echoes.
On the other side, the very rhythmic Descarga Uno', Descarga Dos' and Super Dopamine' show that the Parisian crew hasn't lost its good habit to look around latin, ternary, and syncopated
rhythms, in the ALVO only style! A new millésime, a Grand Cru maybe, but for sure to taste and appreciate in all weathers including space ones.

As the head of Grounded Theory and MANHIGH, Henning Baer has since 2009 presented his downcast, experimental interpretation of modern electronic music to wide critical acclaim, establishing his forceful presence on Berlin's scene with immaculate curatorial skills and equally imposing DJ abilities. His discography so far, concentrated on Adam X's legendary Sonic Groove imprint and his own K209 and MANHIGH imprints, amongst others, keeps step with his formidable reputation and wide-ranging tastes, moving across the spectrum of hard-edged, aggressively modern techno. With 'Shatterproof', his long-germinating debut album for MANHIGH, he offers for the first time his unified vision in extended format, a varied exploration into the outer limits of the genre. At its centre a work of dark minimalism, he sets and maintains the pensive tone on ambient pieces like 'Angel Dust', 'All Over', and 'MIL-STD 461', which foreground the exploratory electronics that maintain their presence throughout. The corroded textures of the sounds, enveloped in decaying reverb, bring life to pieces like 'Never Ending' or 'Bliss', which sit between rhythmic interludes and the stricter dancefloor material found on the remainder of the album. Once he shifts into techno, he does it unremittingly, from the uptempo fury of 'Code Buster' and 'Burning Chrome', whose starkness only heighten the tension, to denser pieces like 'Drama Sky' or closer 'Vermillion Red', where the cavernous impacts of drum hits punch holes through beds of seesawing synthesizers. Shatterproof like its title suggests, Henning Baer's first album unifies and strengthens the work of an artist whose legacy is already assured.

It's already been 5 years since the last Zombie Zombie album 'Rituels d'un Nouveau Monde', after which the group explored other territories by signing 2 film scores, namely 'Loubia Hamra' by Narimane Mari and 'Irréprochable' by Sébastien Marnier, as well as creating the music accompanying a contemporary circus show called 'Slow Futur' created by Martin Palisse and Elsa Guérin. Wouldn't these beautiful parentheses make you want to return to the sources After 10 years at Versatile Records, 2017 also marks the decade anniversary of the release of their first album 'A Land for Renegades' in 2007, at the time considered to be one of the 10 best albums of the year according to Rough Trade.
'Livity' - Zombie Zombie's latest opus seems to plunge us deep into science fiction, with a cover designed by the mythic cartoonist Philippe Druillet, who is also the founder of the cult Métal Hurlant comic series. The title of the album is somewhat misleading, as one could mistakenly think of a certain dub record made at
the famous Island Records Compass Point studio in the Bahamas. For the uninitiated 'Livity' or 'Life force' is actually a Rastafarian spiritual concept based on the idea that an energy exists within, and flows through, all people and all living things. The record was recorded last winter in Paris, in a very short time frame. 7 tracks played live in 7 days, by Etienne Jaumet (synthesizers / rhythm box / metallophone / sax), Cosmic Neman (drums / vocals / sound effects), and Dr. Schonberg (percussion / electronics / trumpet), recorded at the Red Bull Studios by Thibaut Javoy and Jerome Caron, 2 very competent engineers. To keep it in the family, the album was then mixed by another member of the Versatile stable, the mysterious and legendary DJ/producer I:Cube, done in the label's Victor Studio.
On this album the principles that are dear to the group rest being respected, still as far away as always from the standards of 'radio play', A living kind of music, composed of long instrumental moments recorded with analog synthesizers and drum machines, accompanied by drums and percussion. But I:Cube's touch may bring the unique energy that one may find at Zombie Zombie's concerts; on certain cuts like title track 'Livity' that the group recorded in Laos, a wild combination of 808 kick drums and bewitching jungle sounds that sound quite unlike anything else out there, and especially on 'Hippocampe', which gives the impression of hearing an old school hip hop rhythm with the power of a metal band who have replaced their guitars with an army of synthesizers: we recommend you listen to this particular track in a convertible while speeding down the highway.
As with all of Zombie Zombie's music the cinematic component is still strong, on titles like 'Ils existent..' 'Acera' which was originally composed for ciné-concerts accompanying the films of Jean Painlevé et Maurice Pialat. The energy of the beginning is still very present, as is - of course - the kraut inspiration. But it's also an album that takes new directions and sonic risks, like on 'Looose', which brings to mind the Art Ensemble of Chicago, or the groove of James Chance in New York in the early 1980's, featuring the free sax solos of Etienne Jaumet and Dr. Schonberg on the trumpet. The group also offers some slower and calmer titles, like 'Heavy Meditation' as well as exploring more experimental tracks in the line of French 70's groups such as Lard Free or Richard Pinhas, for example on the bonus track 'Black Moon'.
Please - Take your time, and enjoy listening!

SPECIAL LIMITED EDITION X 300 WITH BONUS 7 :
Limited special edition with the 7" containing the track "Lune noire", in 2 parts - one per side.
It's already been 5 years since the last Zombie Zombie album 'Rituels d'un Nouveau Monde', after which the group explored other territories by signing 2 film scores, namely 'Loubia Hamra' by Narimane Mari and 'Irréprochable' by Sébastien Marnier, as well as creating the music accompanying a contemporary circus show called 'Slow Futur' created by Martin Palisse and Elsa Guérin. Wouldn't these beautiful parentheses make you want to return to the sources After 10 years at Versatile Records, 2017 also marks the decade anniversary of the release of their first album 'A Land for Renegades' in 2007, at the time considered to be one of the 10 best albums of the year according to Rough Trade.
'Livity' - Zombie Zombie's latest opus seems to plunge us deep into science fiction, with a cover designed by the mythic cartoonist Philippe Druillet, who is also the founder of the cult Métal Hurlant comic series. The title of the album is somewhat misleading, as one could mistakenly think of a certain dub record made at
the famous Island Records Compass Point studio in the Bahamas. For the uninitiated 'Livity' or 'Life force' is actually a Rastafarian spiritual concept based on the idea that an energy exists within, and flows through, all people and all living things. The record was recorded last winter in Paris, in a very short time frame. 7 tracks played live in 7 days, by Etienne Jaumet (synthesizers / rhythm box / metallophone / sax), Cosmic Neman (drums / vocals / sound effects), and Dr. Schonberg (percussion / electronics / trumpet), recorded at the Red Bull Studios by Thibaut Javoy and Jerome Caron, 2 very competent engineers. To keep it in the family, the album was then mixed by another member of the Versatile stable, the mysterious and legendary DJ/producer I:Cube, done in the label's Victor Studio.
On this album the principles that are dear to the group rest being respected, still as far away as always from the standards of 'radio play', A living kind of music, composed of long instrumental moments recorded with analog synthesizers and drum machines, accompanied by drums and percussion. But I:Cube's touch may bring the unique energy that one may find at Zombie Zombie's concerts; on certain cuts like title track 'Livity' that the group recorded in Laos, a wild combination of 808 kick drums and bewitching jungle sounds that sound quite unlike anything else out there, and especially on 'Hippocampe', which gives the impression of hearing an old school hip hop rhythm with the power of a metal band who have replaced their guitars with an army of synthesizers: we recommend you listen to this particular track in a convertible while speeding down the highway.
As with all of Zombie Zombie's music the cinematic component is still strong, on titles like 'Ils existent..' 'Acera' which was originally composed for ciné-concerts accompanying the films of Jean Painlevé et Maurice Pialat. The energy of the beginning is still very present, as is - of course - the kraut inspiration. But it's also an album that takes new directions and sonic risks, like on 'Looose', which brings to mind the Art Ensemble of Chicago, or the groove of James Chance in New York in the early 1980's, featuring the free sax solos of Etienne Jaumet and Dr. Schonberg on the trumpet. The group also offers some slower and calmer titles, like 'Heavy Meditation' as well as exploring more experimental tracks in the line of French 70's groups such as Lard Free or Richard Pinhas, for example on the bonus track 'Black Moon'.
Please - Take your time, and enjoy listening!

We welcome back long-time First Word family, Souleance, with 'Bamboule', fresh from their respective cut-ups for our sister label, Excursions, and their recent 'Raw Funk' set, we have a 5-track EP containing something for all the family, crafted with love once again by France's Fulgeance & DJ Soulist. A truly eclectic collection, comprised of afro grooves, tropical vibes, b-boy rhymes, head-nodding shakers and intensely hype floor-fillers. A seriously fun selection.

It kicks off with 'Partay', a mid-tempo slice of bouncy tropical boogie that does exactly what it says on the tin. An effervescent synth-bassline rides on top of a delectable disco shuffle, complete with classic reggae chants.

Title track 'Bamboule' is a seriously energetic afro-funk beast. A truly infectious percussive rhythm track, laced with an immense bassline, vocal chops and synth rides, this one is 100% guaranteed to entice any dancefloor into a trance-like state of bugged-out body moves.

'That Guy' is some uptempo piano-rolling hip hop business, enlisting the help of Brooklyn MC, Von Pea, from the crew Tanya Morgan, who've been making noise on the independent hip hop scene for over a decade, as well as recently collaborating with GUTS.

We dip down to around the 85BPM mark for 'J'aime Marcher', a lounging boom bap bumper with sloppy drums, jazzy rhodes and vivacious horns.

Closing the EP is 'Brown Bags', an almost Dilla-esque cut-up, complete with rolling neck-breaking drums, sweet soul samples and stabs of prog rock. An abundance of variety, we think you'll agree.

For those that don't know, the Parisian duo hooked up just over a decade ago, and haven't stopped to rock & shock parties, clubs and festivals globally since, building a fan-base of solid party people and revered selectors along the way. As always, the wonderful Alice Dufay provides the artwork, making this an essential package for you and yours.

Brewing another supremely heavy release on the horizon, Moonshine Recordings is stealing the spotlight once again. Proudly presenting Violinbwoy's first solo album, unadulterated sound system pressure at its finest. Slavic chants and drum rhythms meet the unrivaled power of Violinbwoy's eccentric take on modern bass music 'Fyetisov' kicks off the stellar 3x12" release with a high-powered Stepper emission. Setting the tone with a rumbling bassline and supremely energetic lead instrumentation, full force sound system music down to its core. Shining in a different light, 'Moonspell' reveals its melancholic nature gradually intensifying through otherworldly percussion and anthemic vocal sample placements. Stripped down to its bare bones,'Dubplate' unleashes its detuned, percussive shackles for a massive onslaught of four-to-the-floor, while keeping true to Jamaica's music roots. Warbling tape echo spheres and excellence in emotive expression Violinbwoy's collaboration with singer Marina P turns out to be an anthem by itself enthralling, whoever gets caught into the midst of this hymn of a track. Not backing down one step from the established level of quality, 'Sound System' featuring Junior Dread excels once more in a crystal-clear demonstration of modern roots music mandatory repeat listening. Rejoicing in simplicity, 'Rig Alert' holds true to what the name suggests - cinematic bass meditation, fluidly scaling with the size of its speaker counterpart. Moving on to Dan s vocal skills in 'Wanted': Rastafarian wisdom chanting along a skanking rhythm and orchestral atmosphere. Ethereal bells being submerged in moving air and scattered white noise, 'Run & Hide' demonstrates a more experimental side within the LP exhibiting Downtempo/Ambient inclinations in a magnificent combination with Dub characteristics, only increasing in energy to the call of the dub siren. Ready for more, the title track 'dod' captures us within the expressive, introductory playing of the violin, deserting it for echoes and sub oscillations alike. Calling upon the prowess of Rider Shafique, his harmonic toasting is being escorted by a forward-minded halftime groove in 'Find The Way'. Topping the LP off with Sis' excellence in telling a story through song on a hypnotic instrumental. The nature of last tunes is often powerful, serving to concede with an explosion, appropriate of the session as is the case with 'Surfacing' closing off the monumental EP with visceral lead movements, setting the tone alongside driving drums and one more murderous bassline, sure of receiving countless rewinds in the near future. Encompassing a plethora of current Roots- Dub- and Steppa- influenced styles, Moonshine's next LP installment is sure to be received for what it is: a definitive, quality expedition of what's firing up dance floors around the globe.

Aula Magna Records presents Atmen by Mekas, a storming record that reveals the artist's latest techno explorations in
full effect, featuring Stockholm LTD label boss P r Grindvik as guest remixer. A techno statement shaped by melodic
and rhythmic interactions that draw the listener into the artist's profound sound world.
The A-side opens with the powerful beat of Clark Nova, a cut that moves forward with a modulating synth line and simple
but cleverly designed percussions. This is followed by Unknown Soldier, an intense techno weapon that reflects the
distinctive sound of Mekas.
The B-side features both versions of Atmen, starting off with P r Grindivik's dance-floor rework of the title track that
combines a fresh arpeggiated motif and a powerful groove with the emotional spirit of the original. Atmen closes the
record, an epic ambient techno track built with deep atmospheric synth lines on an intelligent stripped down breakbeat.

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

Pollution from 1972 is the captivating follow-up to Fetus. Like its predecessor, the album features Baroque textures, motorik rhythms, weird tape effects and Battiato's perfectly oblique vocals. Upon hearing Pollution, Frank Zappa joyfully proclaimed it "genius."

While Battiato's core group of collaborators remains largely the same as on his debut, this phenomenal band (joined by an eighteen-year-old Roberto Cacciapaglia on keys) appears even more in the foreground on Pollution. Out of the Ash Ra Tempel-like riffs and urgent guitar strumming emerge hypnotic grooves and cinematic flourishes, suggesting a futuristic meeting point between Stereolab and Ennio Morricone.

Dedicated to the Centro Internazionale Studi Magnetici, Pollution touches on themes of environmental catastrophe. Futurist allusions seep in through eccentric lyrics (at times sung backwards) about hydraulics, magnetic fields, etc., yet listeners don't need to speak the artist's language to grasp his melancholy vision. With Pollution, Battiato solidifies not only his cult figure status, but also many of his forward-thinking ideas on rock 'n' roll.

Superior Viaduct is honored to present the first-time domestic release of Pollution on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

Cut This Way is the second outing of the year for North London producer Smashed Atoms on the Magic Circles Music label. The title track takes us back to early 80s New York, featuring a sassy old-school female rap over a mid-paced strut, and has already featured in sets from disco legend Greg Wilson and Hot Digits head-honcho Fingerman. On the flip side, Lost Someone locks down a rolling groove with interweaving synths and a nagging bassline.

After a two year hiatus, Kiani returns to his Far Out Systems alias for this EP, his first offering for a label outside of his own Tanzbar Records.

Thomas Neyens first left his mark on the dance scene under his alias Kiani & His Legion, with two releases on Red D's We Play House Recordings in 2013 and more recently on Something Happening Somewhere, quickly demonstrating his accomplished production flair. This led the Belgian establishing his own imprint, Tanzbar Records, where he dropped two EPs under his Far Out Radio Systems moniker - bringing a more 'dancefloor focused' sound. Now after a two year hiatus, Neyens returns to his Far Out Systems alias for this EP, his first offering for a label outside of Tanzbar Records.

'Spheres' kicks off the release, with its soft bassline perfectly complimenting the hazy synths, syncopated drums and the mesmerising nuances from the hang drum that feature later in the track. The slow burning style continues on 'Jane Goodall', with the track's atmospheric textures gradually overpowered by a steady selection of drums, percussion and off-kilter effects. 'Vaquita' sees Far Out Radio Systems up the tempo whilst still sonically retaining the melancholy, hypnotic sound of the EP, as the snare-led rhythm gradually gains in momentum over its seven minute duration. Closing this excellent four track EP is 'On A Quest', a pulsating number that combines soaring, ethereal synths with a club ready groove that is perfect for the shadowy dancefloors the Belgian DJ/producer performs to.



DJ FEEDBACK

Early support from

Joris Voorn: Great atmospheric EP!
Blawan: really nice stuff here ! really like Vaquita
DJ Deep: nice release
Aera (Innervisions): Vaquita is a real beauty!
Baikal: whole release is dope. big fan of kiani. big up.
Norman Nodge (Berghain): "On A Quest" sounds promising!
Richie Hawtin: downloaded for r hawtin
Ripperton: Great EP every track get something! Thanks!
Âme (Kristian): thanks
Red D (We Play House): Needless to say I have preordered this one on vinyl ;-) 'On A Quest' is gonna be the one for me. It's got that Kiani-going-emotional vibe I dig so much.
Anthony Collins: Jane goodall track is tight !
Nuno Dos Santos: ah sweeet thanx man!
Brothers' Vibe: Solid pieces, def support!

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records softer, more melodical and experimental side.

Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time! We warmly welcome the Dutch duo Dennis Pors & Stephan de Bruijn to OrbisX. New fresh talent, ready to conquer the world. We feel obliged to support these
fine gentlemen to get their music spread across the globe. Dennis & Stephan know each other through their musical perspectives.
They share a similar taste for music, Detroit techno. Before they worked together, Dennis experimented with deep house through digital synths and learned the ins and outs of programming music in Logic.
Stephan was well known with the detroit techno scene. His passion goes out to well balanced electronic music with hypnotizing emotional feeling to it. Add a layer of atmospheric grooves on top of that and you have the perfect blend to potential timeless music.
Soon enough they made the switch to analog gear to be able to create a cleaner and better sound. After three years of hard work, they have reached the sound they were looking for. And this is it!
Their debut on vinyl. D&S servers a full EP called Thoughts EP. A great cocktail of dreamy and diverse electronic tunes. This EP fits well in the back of any DJ bag to warm up the place or fix the atmosphere on roof-top bar in NYC. Smooth cruising, roof down car music or background music on a spring night with a summery breeze This EP is amazing and works best on a big sounds systems and major festivals! Childs play , what s in a name. Nothing like that melody. Creating a generously opening atmosphere, but actually brilliantly mixed creating the perception of simplicity. Groovy, acid touches and funky. Can t keep still when being played. A-track for sure! Thoughts might have a dark feel to it but evolves in a very uplifting track in just a few moments, making
it very bright and fun to play. Shed light to the place, should have been a great title as well, but thoughts is the best name for this track. The story in this track is definitely there to be told and listened to. Edge Of Insanity kicks of the B-side. Goosebumps, as from the start. Building up slowly to a very melodic and yet simply track, it s the perfect translation for a sunrise at the beach. Potential
Ibiza hit if you ask us. Submission is a track straight out of a movie. Clever, nice build up, dreamy, spacey and above all so amazingly subtle. This is what falling in love should sound like. We re humble. We re amazed. We re honoured to host D&S. We hope this duo gets the attention

Antique Fragments EP is the third release of our Kommuna Tapes imprint. The A side starts with a quirky fast-paced track created by a mysterious producer named Schematix in 1997. Thinktank, an electro/breakbeat act who signed his first and unique EP only a few years later in 2000, takes us on a punchy yet dreamy techno journey. On the flip side, after Schematix undusted his hardware to extract the stems for the occasion, wizard Sergio Moreira mastered the challenge of creating a slower and deeper version of the track, while upcoming Madrid talent Javier Moreno closes the release with a bouncy acid burner.

Track by track, we build a Kommuna of artists who share our insatiable appetite for music discovery, guided by a certain vision of the dancefloor: deep stripped-down grooves, sometimes challenging, always with character.

REPRESSED !
1970's "Osmium" was Parliament's debut album and possibly the first real indicator of where George Clinton and his notorious band of psychedelic funksters might be headed. The ground zero of P-Funk if you will. Existing since the late 50's as a doo-wop group it was the bands later offerings that sculpted their unique, mildly warped idea of what the FUNK should sound like. Initially they cut a couple of 45's for Detroit Soul label Invictus in 1970 (both of which appear on the LP) then embarked on recording more music for the project, their first full length offering on the label. The group also released the debut Funkadelic LP in the same year with both albums feature the same personnel. The conditions under which "Osmium" was realised have since passed off into mythical status with colourful anecdotes involving marathon LSD consuming sessions in isolation in their Toronto studio and a general air of hallucinatory, intense mental psychosis prevailing throughout. It's under this druggy haze that Parliament honed their own sound, a raucous, blown out, tripping stew of R&B, Blues, Soul and Funk replete with early P-Funk trappings.
"Osmium" is a fascinating ride, wild, rampaging heaviness of the most soulful kind. A glimpse into what was to come from one of the most enduring and colourful groups of the last 5 decades. Often a very difficult LP to track down it has always been sought after and extremely expensive to buy. Appealing to fans of Black music, Rock and psychedelia equally it's contents have shocked, entertained and grooved open minded music lovers since it's release over 40 years ago.
This is the first time the record has been reissued in over a decade, complete with original artwork. Remastered, reissued and fully licensed with the full permission and involvement of Invictus Records, Detroit.

Patrick Weblin gives us this very special EP. 2 Original tracks named after his 2 sons, so a lot of time and heart has gone into making this Ep with a superb remix from IULY.B. "Tadhg's Groove" give us solid house drums,percs and hats but its the pads and bassline that gives it the movement throughout the track, taking you to another level of space and conscious. IULY.B's remix is down right tasty. It takes you on a little trip and makes you loose track of time all while grooving to this great remix. "Ollie's groove is something a bit special, big 909 kick combined with 808 tops but this time some melodic synths add a very soulful and elegant sound.

Too many people sleep on Tougher Than Leather, Run-DMC's fourth album. But hear us out as we plead the case for this amazing LP. By 1988 there was a lot more competition in the rap game - Public Enemy, Boogie Down Productions, Eric B. & Rakim, Ice-T and many more had given Hollis, Queens' prodigal sons lots of competition. But Joe, Darryl and Jay were still at the top of their game, and hip-hop fans should never let this classic - chiefly produced by their Queens neighbor, DJ and multi-instrumentalist Davy D(MX) - get lost in their crates. For starters, the album's first single, Run's House' b/w Beats To The Rhyme' is arguably the most powerful one-two punch of the trio's career, showing contenders to the rap throne that they could still destroy a beat, tag-teaming with power at any speed. Not to be lost in the shuffle, fans were also reminded on both sides that Jam-Master Jay remained one of the world's best DJs, flexing the pinnacle of what would be called turntablism' a decade later. Both songs show a musical telepathy between all three that has rarely been equaled. The second single, Mary, Mary,' driven by an infectious Monkees sample, took a different approach, shrewdly ensuring that pop fans who jumped on the Raising Hell bandwagon had something to chew on. But, like Walk This Way,' the song wasn't just bubblegum - there was an edge to it, and the lyrical gymnastics were very real. It wasn't selling out, it was allowing fans to buy in. Papa Crazy,' driven in concept and by a sample from the Temptations' Papa Was A Rolling Stone,' followed a similar pop-leaning path. Overall, the lyrical content on the album was a step up from the group's first three LPs. It's easy to infer, looking back, that they were feeling the heat from their younger competitors in the rap game. The genre was changing fast, and they were up to the challenge. On cuts like Radio Station' they bring substance to the grooves, by attacking Black Radio for its continual denigration of rap. Tougher Than Leather' reminds the world that they were still the Kings of Rock, with hard guitars to drive the point home. And They Call Us Run-DMC' and Soul To Rock And Roll' both bring things back to their early days, with sure-fire park jam rhymes and killer cuts. Tougher Than Leather, which went platinum up against a lot of competition, perfectly bookends the '80s output of one of the decade's most important groups. It encompasses the full range of the trio's capabilities, and reminds us that Run-DMC should never be forgotten as both pioneers and party-rockers. And so, we say, long live Joe, Darryl and Jay!

Eight releases in, Leonidas & Hobbes have honed a mutual love of soundtracks, disco, jazz, house, techno, acid, psychedelic, African and dub sounds.
Web Of Intrigue is one part tribute to lost 70s soundtracks, when music was created on the finest analogue hardware, featuring full bands, session players and lush orchestrations, one part tribute to 70s disco gods Nile Rodgers and Bernard Edwards (Chic) and one part mid-tempo but nonetheless cosmic house. The three parts fuse to form an instrumental track sounding as fresh as a whole meadow of daisies in 2017 and one that's been going down extremely well with international DJs who have road-tested the material.
Heavy Weather flips the script for a deeper workout in a 3/4 time signature - more of a cosmic waltz. Taking its main cue from 70s jazz fusion heroes Weather Report and The Doors' Ray Manzarek, it incorporates rich African percussion, spaced-out flourishes exhibiting the duo's love for the dubs of Lee Perry, King Tubby et al, and a good old fashioned arpeggio of an acid line - definitely a more esoteric number, all told.
The 'Dawn' and 'Acid Rain' mixes push different buttons for the heads, as suits the mood. It all adds up to a very Balearic confection, fitting snugly in with the burgeoning revival for this somewhat ineffable sound - a trend that seems to be getting stronger/bigger every year, popping up every time the sun gets his hat on and we all remember how to party like the lucky residents of that infamous White Isle....
MORE INFO
London/Edinburgh analogue electronic duo Leonidas & Hobbes released debut EP "Machines, Tapes & Electronic Setups" via the Hobbes Music label back in May 2013, picking up plaudits and support from the likes of Resident Advisor, Mixmag, Erol Alkan, Ashley Beedle, Alan Braxe, Shadow Child, Jimpster, Nick Warren, M.A.N.D.Y., Leftside Wobble, Mr G, Auntie Flo, Sasha, John Digweed and many more... The duo were consequently commissioned to remix the Pet Shop Boys.
Second EP "Mo' Machines" came out on the label in April 2014 and received equally high praise, with i-D Magazine inviting the duo to record a DJ mix which has to date chalked up a whole lot of love on Soundcloud.
Leonidas has released two other collaborative EPs with London-based Japanese DJ/producer Kay Suzuki via his Round In Motion imprint, equally winning fans worldwide, with a track now forthcoming on new label YAM Records' You And Music Volume 1 EP plus much more in the pipeline for 2017. Leonidas also has his own lovetoparty label, releasing edits of much-loved disco tunes on limited edition 12" vinyl format and free download. Previously, Leonidas made a name for throwing word-of-mouth parties around east London on his audiophile 'lovetoparty' sound system (providing some of the inspiration for much-admired late-night watering hole Brilliant Corners).
Equally, Hobbes ran the widely acclaimed Trouble nights for ten years in Edinburgh/Scotland, working with the great and the good from across the soul/jazz/dance spectrum since '02, and championed up-and-coming live talent via his Limbo 'gig-in-a-club' nights at The Voodoo Rooms for nine years since '07. Hobbes has toured his DJing style to the various corners of the dancing planet, including gigs in the Far East, much of Europe and across the UK. The Hobbes Music label has otherwise featured artists as diverse as Auntie Flo, JD Twitch (Optimo), Neil Landstrumm, Craig Smith (6th Borough Project), Ali Renault, iO Sounds, Joe Howe, Debukas, Fudge Fingas, Marco Bernardi, Dimitri Veimar, Mick Wills and Nightwave, with further support from Ben UFO, Justin Robertson, Motor City Drum Ensemble, KiNK, The Revenge, T.E.E.D, Kiki, Groove Armada, Maceo Plex, OOFT!, Domenic Capello (Sub Club), XDB, Ben Mono, Masa Sutela, Bawrut/Scuola Furano, Numbers, John Heckle and many more...

Circus Company and The Mole have long been making eyes at each other across the same crowded dancefloor. Colin de la Plantes primary project is synonymous with the off-kilter corner of house music we like to spend our time dancing in, and the labels he releases on are close cousins of the Circus troupe. From Wagon Repair to Philpot, Musique Risquee to Perlon, its a wonder that we havent worked together previously, but finally thats been put right with Little Sunshine. Stripped back, understated disco grooves have always been the bread and butter of The Moles sound, while infectious, cyclical melodic patterns are equally important in making his unique version of house music. On the title track, those elements are presented with full force, but in between the driving rhythms linger the most gorgeous keys, bringing a mellow introspection to the track as a neat counterpoint to the energy of the drums and arpeggios. Compared to the clean lines and peppy tempo of Little Sunshine, Discotheque Airplane is an audacious swerve into low and slow territory, where dusty samples rule the day and the bass swells in and out of earshot with a truly mesmerizing effect. Its a moody affair loaded with tension, mystery and funk in abundance. As if that wasnt enough proof of the variety in The Moles repertoire, on his collaboration with Dutch hero Tom Trago for Down The Hallway we find the pair exploring lean, focused techno, where the simplest of rhythms propel a haunting, distant vocal lick. Its the drum sounds that make this a special cut, championing warm, natural percussion instead of the methodical drum machine hits found in most contemporary techno. Rounding the EP off in a beautifully mysterious style is Aardvarck, whose remix of Down The Hallway take

REPRESS ALERT: After the series of Caribbean related releases, Emotional Rescue returns to the early 80's Downtown NYC post punk / new wave scene with Plus Instruments - collecting their best and rarest songs on one groove laden EP. 4 tracks of pure Downtown punk-dub-funk, all with the nonchalant Euro-style delivery of Truus de Groot. It doesn't get better than this. Coming with extended unreleased versions, the originals were collected from sought after EPs, an obscure compilation LP and fiishes with a never before released song - this is history. Licensed and remastered for aural pleasure.

Toby Tobias joins Delusions again for what will be his sixth(!) 12' entitled The Rain. The prolific Londoner whose releases have graced such venerable labels as Rekids, ESP Intistute and Let's Play House, is back with a vengeance, delivering two mighty fine originals plus a remix from Nebraska.
In true Toby Tobias style, The Rain got made on an MPC, sliced and edited from a single live take through the desk then accidentally deleted so no further mixing, sequencing or editing could be carried out. But what is an A&R man's nightmare, turns out to be the record buying DJ's gain, as the improvised, dubby vibe and raw as ***k mixdown give the track an authentic feel and energy which could only come from the madness in Toby's method. Fresh from his brilliant releases on Mister Saturday Night and Razor n Tape, we have our man Nebraska do his thing on the remix of The Rain. Dropping down the BPM's a bit from Toby's more frenetic original, Nebraska add's a healthy dose of moogy lead lines to the lo-slung house
groove, perfect for warming up the dancefloor. Closing this release we have New Way Of Feeling which sees Toby in
playful mode with a percussion heavy, driving basement jam. FM pads form the centerpiece of the track whilst flourishes of Juno come and go, hints of early 90's IDM shining through on the glistening sine-wave melodies. All in all a glorious melting pot of ideas and influences all over this release which make for one of his strongest yet for Delusions

You take a trio of the fnest traditonal griot musicians from Mali and put them in a studio with Western music's most revolutonary string quartet - and the resultng album is one of the most richly rewarding musical collaboratons you are likely to encounter.
Together the Kronos Quartet and Trio Da Kali have created an album that is rich in texture, hauntngly melodic and strikingly inventve as violins, viola and cello combine with balafon, ngoni and the powerful female voice of Hawa 'Kassé Mady'
Diabaté in transcendental style. David Harrington, who founded the Kronos Quartet in 1973, describes the album as one of the most beautful Kronos has done in forty years.' All three Da Kali members come from hereditary musical families, Balafon
player and musical director Lassana Diabaté was a long-tme member of Toumani Diabaté's Symmetric Orchestra and has recorded with Salif Keita, Taj Mahal and many others. A musician of great subtlety and inventon he has honed a virtuoso
two-balafon technique to perfecton. Bass ngoni player Mamadou Kouyaté is the eldest son of the instrument's greatest exponent, Bassekou Kouyaté and he holds down the groove in his father's band 'Ngoni Ba'. Singer Hawa 'Kassé Mady' Diabaté
is the daughter of Mali's greatest traditonal singer, Kassé Mady Diabaté, and the power, range and phrasing of her voice led David Harrington to compare her to the late queen of American gospel, Mahalia Jackson.
Kronos Quartet have earned an enviable reputaton collaboratng with contemporary composers such as Steve Reich, Philip Glass, Terry Riley and Laurie Anderson and with world music icons from Argentnian tango hero Astor Piazzola to Bollywood singer Asha Bhosle.

Not An Animal Records are proud to announce the debut of Man Power (aka Geoff Kirkwood)'s "Tropical Bastard0.95project.After 1st releasing as MAN POWER for the labels the very 1st outing Kirkwood now presents us with another first, the birth of another persona to feed his burgeoning identity crisis.Tropical Bastard 0.9510.95 finally sees Kirkwood fully submit to his cinematic leanings, with a panoramic, Italo tinged track that gives rise to a new unbridled optimism in his work whilst Tropical Bastard, 0.9520.95 gives license to his playful almost joyful side, something which he has as yet only hinted at.For the remixes, Lord Of The Isles dials down the melodrama of 0.9510.95 and amps up the groove, for a driving piece of Soca tinged techno as Frank Butters (Too Many Squares) turns 0.9520.95 inside out creating a night drive from the originals day tripper.Stay tuned for Tropical Bastard 3 & 4 on Not An Animal Records

No musician embodies more the dramatic transformation in the British jazz scene over the past thirty years than Courtney Pine. His debut album, Journey To The Urge Within in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc.

Aside from being the preeminent figure in the resurgence of British jazz, Courtney became a renowned presenter and broadcaster, best known for his long running radio show for BBC Radio 2, 'Jazz Crusade'. He was also awarded an O.B.E in the 2000 New Year's Honours, and was also made a C.B.E in 2009 for services to Music.

As an artist always looking to work outside of and across established musical genres, it is easier to list the musicians and artists he hasn't worked with, but now in 2017 Courtney releases brand new music featuring another British music legend of equal repute, his Freestyle Records label mate and an artist also honoured for his own creative endeavours, Omar Lyefook M.B.E.

Both tracks of this single are taken from Courtneys' forthcoming album Black Notes From The Deep - the 19th of his stellar career. The exciting and fresh interpretation of Herbie Hancocks' Butterfly demonstrates straight away that this is a dream team combination. With Alec Dankworth laying down the bass, Rod Youngs' drumming underpinning the groove, the song also gives the outstanding keyboards of Robert Mitchell space to stretch out - Omars fantastic vocal performance rides sweetly on top of the dreamy backing vocals of Charleen Hamilton - and of course Courtneys' flowing, imaginative and creative solo perfects this modern version of a much loved classic.

Rules is a brand new, collaborative composition by Courtney & Omar - the punchy drums and bass line patterns hints simultaneously at classic jazz and funkier club-centric sounds. Courtney cooks on tenor saxophone and also the organ - whilst Omar marinades the super catchy melody with that unmistakable voice.

As an introduction to the forthcoming album Black Notes From The Deep this single points the way to what 2 British legends, both exemplary in their own right - can come up with when joining forces.

While frontiers currently seem to be (re)claimed and shutting down, we, at Série Limitée, prefer going against the consensus. We proudly launch the 10th release opening up doors to four new artists, Deep88, Sofotalk, Kisk and The Happy Man. From Italy to Spain, our little musical caravan travels and wanders on paths and tracks made out of raw house beat leaves, fusion jazz trunks and deep groove fields, to bring to you this new VA, our 10th, faithful to our long time recipe: 400 exclusive press. Deep88 is officially in charge of welcoming you inside and of setting the tone. He will take you in with his track Wave House'. Further up our musical trail, we'll start hearing the hints of the next step, our next stop: More Than A Memory', by Sofatalk. On the road again, and we head to the B-side of things. We stay in close connection with Italy with Clean Up & Down' from Kisk. There is no good party without a great closure, and it's all even better with The Happy Man, closing the journey with Pizza Hug'.

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.

The House Music Institute is the new label by Pete M.. A recognized face on the Madrid underground scene, Pete M. has been making the city dance for the past two decades mixing House with Future Disco and Techno.

His first EP, LOFT 301 - Fourth World' includes two original tracks plus a remix by Jonny Sender.
Pete M. created two original tracks with a late night vibe using a classic groove and 4/4 rhythms combined with 808 analog sounds and beats.

Pete reached out to Jonny Sender for a remix who's recently released a number of original productions and remixes. Sender, bass player in the legendary band KONK, was part of the early '80s downtown scene in New York City as well as being a long time DJ. Jumping off from the original track, Sender brings some jazzy early '80s flavor while keeping the vibe strongly rooted in the present.

After the success of Closer to Freedom in 2014, Chicago legend DJ Jes returns to Tardis Records with the Between The Lines EP, featuring two lost tracks from his personal archives and a brand new offering. Opener 'No Fooling' is reduced to the bare essentials until an elegant snatch of piano and spoken word sample break it down further; when the track kicks back in with a vengeance everyone in the room will know all about it, but it remains subtle enough to work the day after as well. On the flip, 'Between The Lines' is tougher and dubbier and will do some serious peak-time damage, whilst new track 'Lost' is a cut-up banger for the floor and a perfect DJ tool. All tracks have been meticulously edited and rearranged by label owners Eli Verveine and Oscar Schubaq in order to extend the grooves and maximise dance floor impact.

The Allergies' debut album introduced the world to the way they effortlessly fuse funk, soul, disco, hip-hop and breaks into dancefloor-ready nuggets of ear candy. Taking classic sounds and reshaping for the modern age is the signature that won them plaudits across the globe.

Not ones to rest on their laurels, it hasn't taken long for them to deliver more of the goods on their second full-length album, 'Push On'. As well as taking the successful formula of the first record and expanding on the sound with raw Funk, Psych, Northern Soul, and Boogie influences, The Allergies enlisted two giants of underground Hip-Hop to bless mics on the album as well.

After a hugely successful collaboration on their debut LP, once again the dynamic lyricism and production skills of the inimitable Andy Cooper (Ugly Duckling) are present and correct in this new collection. Besides bringing the party on tracks like 'Main Event', he also settles scores with 'It Won't Be Me', before destroying all-comers on the battle Rap behemoth, 'Buzzsaw'. Also joining in on the action is UK MC veteran, Dr Syntax (The Mouse Outfit, Foreign Beggars) who prescribes some more healthy Hip-Hop advice on the track 'Remedy'.

Other highlights include the vintage Soul stomper, 'Entitled to That', Sixties uptempo groover, 'Hold You Close', and the fantastic little strutter, 'Get Down On You'. All in all it's a brand new set of future classics from your new favourite funky beatmakers, The Allergies.

Next up on Etruria beat, is the Dutch duo Hush & Sleep who have been steadily making name for themselves in the past year. They deliver a stunning two tracks EP with Farrago and Marco Effe on remix duty. The EP starts off on a joyous note with the track Mirth. As this is an old English word for gladness, the main melody takes you on a carefree ride supported by a stomping kick and dreamy pads in the back. Farrago takes a more stripped down approach with his version. He builds on the dreamy pad, making it serve as a warm blanket over his signature tight percussion. Contradicting Mirth, the second original slowly starts to drag you into a feeling of hysteria, hence the name. Taking their signature kick as the foundation, Hush & Sleep use a haunting melody that lingers on in the back and sets an eerie mood. Marco Effe's remix is a deep stunning techno groover. Taking the main melody but twisting it into his own wonderful creation and sending you off on a journey into time and space.