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A humorous look at some of the more infamous characters in history precedes a charming keyboard led instrumental. Most likely Lloyd 'Gitsey' Willis and Family man sharing the musical honours.

Dave Barker on the flipside with a 'modernist' view on 'Smooth and Sorts'. Comes in a hand stamped bag.

Limited Edition of 300 hand-stamped numbered DSNT005 vinyl.
Tracks from: AnD, Eomac, Fran Hartnett, Sunil Sharpe.
Keep it zesty!

- In loving memory of our mate Connor 'Lemon' Lavery -

REPRESSED !!
The mysterious CRUE has returned with some new House heat for appreciators and collecters worldwide. The 3rd installment in this limited likenamed vinyl affair is again focused on raw beats and ferm chord action. Like it's predecessors this is a heavy hitting dancefloor bomb all throughout. The formula stays the same but refreshes itself in new found influences. The B side of this splendid 10'' shows that the mysterious CRUE is not a one trick pony.
This CRUE record will definitely appeal also to those who find their roots in Techno, or even in Bass Music. Naturally this is concerning a special-coloured and handstamped limited product.
First come, First serve. No digital, No repress.

With his new release the polish Transatlantyk sails into - as yet uncharted - waters of the 'lol- fi' breakbeat house scene to bring you the debut of DJ Stoner Dad.

Not much is known about the man behind the nickname, except that he is a DJ, a dad and that he likes getting his hits from the bong on during the infamously long Warsaw afterparties.
The "Raw Romantics EP" showcases his own take on the deeply saturated, smokey and breakbeat-infused house genre.

'Fake Strings' is a certified banger alluring the dancefloor with a great combo of rolling bass, squashed kicks and hats, grimy, atmospheric pads and a bits of spoken word thrown in.
'Magic Phunk' brings THAT break again and for a good measure. Drums are floating over an ocean worth of blazing pads, liquid synths, acid riffs, pillowy, yet dirty chords and whatever else DJ Stoner Dad could lay his hands on at the time.

'IV' is a full frontal ambient jam, with little bits of wandering drums coming into the picture at the very end.
Finally 'V' brings cinematic influences over slightly uneasy slow groove.

Much may have changed over a two-decade period, but Drumcode's commitment to releasing the scene's most cutting-edge and refined techno remains resolute. 2016 saw releases from heavy hitters such as Adam Beyer, Alan Fitzpatrick, Dense & Pika, Sam Paganini and Joseph Capriati, as well as a much coveted Moby remix package. The label pushes forwards again in 2017; bringing fail-safe, club-ready music to the techno community. 2016 was a standout year for Alan Fitzpatrick, with the Drumcode stalwart racing out of the gates in spectacular fashion with the release of his fabric 87 mix. A substantial amount of high profile shows followed, including appearing at the inaugural Junction 2 festival and closing the car park to a packed-to-the-rafterscrowd at Drumcode Halloween.
He returns to Drumcode with 'Brian's Proper Dun One', marking his first appearance on the label since late 2016 when he remixed Moby's seminal 'Porcelain'. The release opens with 'Brian's Proper Dun One', a track which caused a Twitter meltdown on Alan's profile when he first started playing it at the tail end of 2016. Loaded with sharp and pounding drums, this is an ethereal experience from start to finish and packs a real punch. It's a no holds barred, certified main room anthem. 'Wait A Second' feat. mc r1bbz has been a staple of Adam Beyer's sets of late and has been getting a lot of air time on Drumcode Radio.
This rave inspired track takes a raw, stripped back approach and delivers a real killer blow. Alan sampled the vocals of mc r1bbz from an LTJ Bukem tape pack from the early 90s and the record tips its cap to early jungle raves around the M25.
The release closes with 'Trance, Init'; A homage to Alan's days first and foremost as a raver before he became a DJ, with his non-purist attitude when it comes to electronic music shining through. The breakdown is sure to be a hands in the air moment at festivals all over the globe this summer.

GOMORRA

Gomorra is a passionate DJ and producer from Basel, Switzerland. As an 8 year old boy playing the drums he realized that music might play a bigger role in his future life. After a while, he got his hands on the first pair of turntables and started to experiment with mixing HipHop music. Experiencing a broad variety of music and nightlife culture during those formative years he developed a deeper interest for driving rhythms and repetitive patterns. Soon he got pulled into the pulsating scene that emerged nearly 30 years ago in an industrial and rough urban area at the shore of lake Michigan well known as Detroit, the Motor City. As he already made his first steps in music production while digging HipHop, the obvious development then was to exchange the MPC with Synths and Drum Machines and explore the aesthetics of Techno on a much more profound level.

OMNIBUS IDEM

Omnibus Idem - we are one. The Saga begins. We inhabit each moment to be our own good morning. Everybody else is the same in a different ghetto. What happens when all awareness overlaps to create an Ambient. After dawn in the subway. Submission. A new impression: St. Clair. Where the mechanic meets the organic. To end up alone in suffocation. Buena Noche. Omnibus Idem is process and creation.

In a brief time Parris has not only engineered but fully-stabilised an otherworldly sound of unique resonance. Through leadership of cult label Soundman Chronicles and his own work on Idle Hands, Tempa and Ancient Monarchy, his research and publishing has attracted fervent interest in the UK Bass community and is rapidly gaining wider international recognition.

Measured with due diligence, he has propagated and influenced key research topics and industry best practice standards through regular transmissions on Rinse FM and the recent C90 Cassette 'TX280916 / TX111116'issued on Keysound.

Hemlock is honoured to present his most recent work exploring low frequency encryption and optimisation. HEK028 contains some of the most sophisticated and realistic models we have manufactured thus far.

'Your Kiss is Sour' a slow release payload observed from inception to destruction through decay. Malic tones are exposed, individually suspended then vacuum sealed allowing multiple strains to be dissected and ranked according to their sonic weight and availability.

'Flowering in Threes' introduces technology sensitive enough to detect and harness resonance from long-submerged sub frequency transmissions. The available models can be layered across several axis concurrently with minimal phase or gravity distortion.

'My Beautiful Fantasy' explores and challenges several popular weightless theories in an engaging and controversial tone sequence.

It is summer time in Nang land which means the dials are being set to Balearic. Step forward our all-around good chap, friend and producer buddy Pete Herbert. He has teamed up with Bali based musician and keyboard player Martin Denev to deliver an album of the finest Bali-inspired Balearic House. Hot and balmy evenings here we come.

Recorded on the tropical island of Bali, the album swings from Balearic grooves, to sun-filled terrace house, seaside electronic and swimming-pool funk. We open up with "Batu Karang", summery key stabs, lazy drum machine set the album tone hot, low-slung and swimming in positivity. Things take a more electronic turn with "Time" with its twisting synth-lines and locked on sun-drenched groove.

House music royalty Robert Owens swings by the cabana for a very special guest vocal appearance on "Pass Me By" next. His smooth and powerful soulful vocal compliment the pool terrace house grooves and sneaky thumb piano. As ever, Robert does not disappoint. To close off Side A the title track "Made In The Shade" gives us a slice of Nu Disco summer swing with funky strat and more cowbell of course in for good measure.

The flip side of the album opens up with a hands in the air terrace anthem. House pianos, punchy synth hits and beach disco groove all the way. "Sun Fish" takes things again in an electronic direction. Meandering lead synth lines, walking synth bass giving the perfect back drop to this island hopping anthem. Recent single "Night Boat" is next. Darting firefly arpeggios and lush keyboard layers prevail here. We end on a high with the up-tempo Gamalan inspired "Ruby Star" sending us out on a ocean deep wave..

Welcome to Nang Balearic airlines. Your pilots Pete and Martin hope you enjoy your flight.

- Warren Hampshire from The Bees teams up with pianist Greg Foat

- Recorded with full orchestra all anolog to tape

- Mixed down on fully analog desk from tape direct to the old Sun studios 1/4 Valve tape machine.

- Hand made paste back sleeve with 60s style gloss finish.

- Mastered from Tape direct to lathe at Timmion Cutting Studios Finland.

- Sleeve notes by Bob Lind

Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair flying in the face of the brexit nightmare. Release June 2017

With FBNM now celebrating their fifth year of operation, Lorenzo has marked the occasion by assembling his biggest project to date - an impeccably curated collection of obscure Italian production music circa 1974 - 1985. The project, nearly a year in the making, has been very close to Lorenzo's heart - beginning unexpectedly in the record fairs of Buenos Aires and leading him on several trips to Rome and Milan, tracking down the original musicians and licensors.

"In this compilation, I have tried to include some of the most interesting cuts I have collected over the years. Tracks like the entirely electronic "Nitrogen" from Alberto Baldan Bembo's "Sound Orchestra" LP on Star Track Records, featuring a wild evolving bassline leading us through frantic rhythmic experimentations. "In the Space", by French born composer Albert Verrecchia and taken from Italian poliziesco drama 'Il Tempo Degli Assasini' (Season for Assasins), tells the tale of wistful longing, played out with serenity on strings and keys, but unexpected interruption from its stop-start arrangement brings an unforeseen tension into the mix... And how could I not include the wonderfully charming "Screw Driver" by Fabio Fabor, from his collaborative album "Superman" with a young Antonio Arena. Featuring an orchestra of beautifully programmed ARP and Oberheim sonorities alongside the Commodore 64 programmed graphical artwork by Antonio Arena himself."

The music itself was partly sourced from Lorenzo's own collection, archived and then restored especially for this release. Where possible, tracks (such as "Vision", "Nitrogen" and "Blue Magnolia") have been lifted directly from the original master tapes kindly lent by the repertoire owners. Every track, however, has been carefully restored, remastered and cut for vinyl by the cautious hands of Andreas (LUPO) Lubich at Calyx Mastering, Berlin.

For the past four years Francesco Leali kept busy running Parachute alongside co-owners Manfredi Romano and Thomas Feriero, producing under different monikers and touring the globe as half of CW/A. Finally back as Clockwork, Leali reveals a five track EP featuring some of his rugged music to date. A briery shift into foggier territories where Leali explores layered sound-design and broken rhythms, something he had only hinted in his previous work.
'Online Entity' depicts Leali's hindrance with modern society's social networking obsession. 'In contrast to what these services were actually intended for', Leali explains, 'They seem to have impacted a lot of people negatively, resulting in unnecessary resentments, misinformation and feelings of proximity when these tools can easily alienate you from reality'.
'Constantly worrying about how you want people to perceive you is absurd already, but for many of us this constant sharing has become the only way to achieve happiness, to be satisfied. In an era where all of this is getting out of hand it's essential to remind yourself of the things that truly shape you as an individual. With
Online Entity I aimed for feelings of release, mutating resentments into something positive - more physical. I imagined it as a soundtrack to an escape from these very situations.'
The release showcases this approach with five club-ready numbers filled with calculated, pounding drums and gloomy atmospheres, with only rare glimpses of hope scattered throughout.
To round things up we mobilised fellow Parachute affiliate Ayarcana and Serbian Techno pro Lag who both deliver two startling interpretations of 'Escape Sequence' and 'Rumination'.

Hedonism in its purest form means nothing but adjusting one s life and ambition towards pleasure and joy as well as the prevention of pain and sorrow. Following that concept, Wice s first EP takes the listener along on a journey of extremes: persistently strolling between sensual desire, ecstasy and lust as well as the deepest abysses of human sensitivities.
Coherently, just kiddin drags the listener right into Wice s universe of fabulous oppositions without any prior warning: the Peak Time Killer, inspired by the love of Detroit Techno of the 90ies, exhibits irrepressible energy, velocity and surprising twists and turns. Driven by the progressive drive of the drum patterns, the voyager, trapped in a mesh of percussions, wanders confused and disoriented on dance floors looking for support and, as if out of the blue, finally gets released by the warm synthline and gently taken by the hand. Simply just kiddin.
When legs are broken, things have to be done can be described as a small masterpiece of urban, intelligent dance music. The composition, which ranges in between complexity and simplicity, with its breaking beats in combination with spheric pads shows up the necessity that one should, despite setbacks, consistently remind oneself that life, love and music reveal their most beautiful aspects in a balanced and smooth flow.
The eponymous track hedonism draws a painting of obscure and rugged techno landscapes, which attract the listener magically, even though their beauty and grace can only be assumed at first glance. Once identified, the shimmering pads, the forceful bassline and the impulsive percussions unfold a world riddled with the most beautiful abysses and animality hedonism in its purest and most sinful form alike.
With blind certainty a downtempo piece rounds off the EP, which is supposed to be comprehended as a reminder for all hedonists that blind trust may have positive as well as negative consequences.
The hopeful basic mood of the song, however, always lets the light at the end of the tunnel shine through, which emphasizes the optimistic exit of Wice s world of hedonism.

This highly anticipated release by Los Angeles based artist, AXKAN, delivers a powerful message to the techno underground, letting everyone know this record hasn't come to this point by mistake. With powerful remixes by Luis Flores, Pinion and RolandoHödar to support, AXKAN delivers a strong statement with 'Tension', a techno masterpiece with broken industrial rhythms that is bound to shake floors, and crack the surface. He masterfully creates some true and raw emotion, with his dark, sinister and gritty sounds that is guaranteed to grab attention from the beginning. Axkan's self-confident creativity, however didn't come alone. Techno heavyweight Luis Flores provided a remix that is nothing short of spectacular. He encapsulates Axkan's raw, dark noises, and completely manipulates them into a gnarled and twisted rendition. Pinion's remix perfectly complements the release in a cohesive way to get the dance floor moving. His unique characteristics include a deadly vicious groove with glitchy vocals combined with deep melodies. Aerotek founder, RolandoHödar, had to get his hands in there, with his industrial techno breaks remix to add to this ferocious ride. With all tracks united together, this EP is rooted with serious energy and will undoubtedly tear speakers apart. It exploits experimental to traditional 4X4 percussion workouts and is definitely worth listening.

Repress
From Chicago Noleian Reusse (Africans With Mainframes) serves 3 tracks of alien jacking weirdness. The package is completed with a remix by labelboss Paul du Lac aka Paul West. Handstamped limited edition.

Panorama Bar resident Nick Ho¨ppner gets to Work on his second solo album on Ostgut Ton, connecting the territories of House music with the ease of Alt-Pop.
Work as in labor. An axiom that fuels the capitalist system just as the Techno/House scene economy says that one needs to keep oneself busy to make a living. As a musician, things are complicated of course. It's a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. Those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. After leaving his full time job as Ostgut Ton's label manager in 2012, Nick Ho¨ppner went fully freelance, focusing on his musically diverse, deep and dynamic DJing in and outside Berghain's Panorama Bar, but more importantly spending more time in the studio. The result was his critically acclaimed debut album Folk (Ostgut Ton, 2015), various 12' releases and remixes, and now his sophomore LP, Work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.
Work as in body of work. A record is more than the sum of clocked up hours at the studio, but the result of an artistic-creative process. On Work, Ho¨ppner shows his everlasting lust for musical detail, his increasing technical skills and compositional finesse. Work is a very personal, soulful and deep record that breaks through the usual club/dancefloor narrative by documenting Nick's interest for hybrid sounds and combining elements from varying musical genres. Work's lead single 'All By Themselves (My Belle)' is a very atmospheric, intimate and steadily unfurling IDM piece with ethereal synth and vocal pads; on the album it's contrasted by 'Clean Living' with Tram 78, a modern Ho¨ppner club classic: powerful, kick-heavy, muscular, cheerful and uplifting. It's a very personal track resulting from a recent reencounter with an old friend. Having spent countless hours together in Berlin's clubs in ever changing states of mind a decade ago or longer, things have since changed for both towards a more - clean living'. Connecting to this musical vibe 'In My Mind' follows with a slightly darker tone putting emphasis on bassline, percussion and squeaky sound detailing. 'Hole Head' pays tongue-in-cheek homage to Nick's love for UK club music, when a dashing melody of synths and vibraphone is matched with clattering breaks and syncopation. The dubby, mesmerizing 'The Dark Segment' not only impresses with its hypnotic synth figurines, but also by morphing to a shuffling Jazz rhythm towards it's middle part; 'Forced Resonance' uses Oberheim synth brass stabs to dramatic effect; the percussion- and clap-laden 'Fly Your Colours' comes with an irresistible piano melody atop an energetic kick; and finally the album-closing, shuffling but rhythmic, noisy yet bluesy 'Three Is A Charm' featuring the duo Randweg on clarinet, cajo´n and acoustic guitar is a coherent departure heading towards Indie Pop territory. It sees Nick collaborating with acoustic instrumentalists for the first time in his ten-year- spanning Ostgut Ton release catalogue.
Work as in artwork. Staying in line with the Folk album, the visual companion for this record comes from German collage artist Frank Bubenzer. As with the artwork at hand, Bankentsunami, and his other works, Bubenzer cuts up print magazine advertisements and recontextualizes them into new motifs, removing all human depiction from the source material, here as a commentary on the world of business, big money and the banking crisis.
Work as in work it. As a slogan 'work' has always been one of the genre's most utilized paroles, coined and put on wax by pioneers like LNR, Blake Baxter or Steve Poindexter, to name a few. Not only calling for the crowds to get moving on the floor but also to fully express themselves and their unique individuality inside an all embracing environment. A mindset rooted in House Music that has been an integral part of Nick Ho¨ppner's identity as a DJ and producer from the beginning and all through his decade-spanning residency at Panorama Bar. Work it!

Some quality techno on this new label from Paris including a beauty of a rmx by Conforce!. For this first vinyl only EP, Shlomo, one of the label's owner arrives with two original tracks with a deep atmosphere crossing classic techno drums. The other side presents two remix, on from the Edinburgh's techno master Stephen Brown with a fine old school reshaping. Next comes The Conforce's remodel which will talk to all ambient and minimalistic techno, 100% as we love his sound. Beautiful contracts between the liquid beauty and massive force of techno. Limited with beautiful handmade sleeves. Tip!

*The first ever personally endorsed and officially licensed remix of Ned Doheny*
*Record Store Day 2017 Worldwide Exclusive*
*Original artwork by globally acclaimed illustrator Pete Fowler*
London/LA producer Kenny Dickenson crafted his stunning remix of Ned Doheny's "Labor Of Love" to mark the Be With Ned tour in March 2015. The gentle disco re-rub was leaked by influential blogs and has been wreaking elegant havoc on both sides of the Atlantic ever since, setting a new gold standard for AOR remixes. Beloved of everyone who's heard it, we've been inundated with requests for a physical version.
As RedKen, Dickenson came to prominence with his cult edit of Steve Perry's "She's Mine" - an instant hit on the AOR Disco scene - whilst his double A Side Fleetwood Mac 12" with Psychemagik was number 1 across Juno, Piccadilly and countless others, gaining him further notoriety. Here, taking Ned's stellar version and creating new melodies by twisting original sax solos inside out, Kenny's remix is elevated further with the introduction of his sophisticated keyboard work and additional white-hot production.
Completed the day of Ned's penultimate show, Kenny bounded up to Pete Fowler - on DJ duties - and handed him the demo. Ever the showman, Pete played it seconds after Ned finished. Momentarily mortified at the chutzpah involved, we realised we were listening to something sensational. The key element would be Ned's opinion. He aired it the next day, breaking a drained silence as we boarded a flight to Berlin: "There was a remix of my song played last night." Heart in mouth, we were in for a deserved dressing down. "Pretty good, I liked it." And with that, we were determined to commit this wonderful reimagining to vinyl.
After two years of major label wrangling and artist nudging, Be With Records are delighted to finally present this as an officially authorised, one-sided 12". Enhancing the package, the record comes appropriately adorned with striking new artwork from Pete Fowler himself and liner notes from all parties involved. Limited to just 500 copies, these are sure to fly.

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision.

This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.

Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few.

Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision. This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.
Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few. Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more