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Back in the area. Banoffee Pies original imprint continues with BP007. The more serious and leftfield off shoot under the labels wing this time inviting the introduction of two new label members on this 4 track VA. Toma Kami opens the A1 with the title Rivershells, a slowly erupting swirl of percussion and progressive drums. A real head turner.
The A2 comes from Pablo Marco with his second addition to Banoffee after his breakbeat power track on their Black Label Series Imprint earlier in the year. Murmuring vocals and a swirling feeling with 'All About' - sure fire dance floor reset button included.
The B1. comes from Liem & Eddie Ness, who's split EP with ac$ on the earlier released BP005 analog acid record was enough to invite a return appearance this time with leftfield 'Fujiyama', and welcoming of K-Lone previously known for his involvement on the powerful Bristol label, Wisdom Teeth with a down tempo track with warm spherical sounds.

"I Can't Love You Anymore" is the first single by hard working soul performer Carlton Jumel Smith recorded with Cold Diamond & Mink, and the man has revealed his middle name just for the occasion. Otherwise known simply as Carlton J. Smith, there's no doubt he has swallowed a large pill of soul since seeing James Brown live at the Apollo Theatre as an 8-year old.

Smith's Timmion debut single sinks him into drum heavy southern flavored deep soul, a style that comes out of him naturally as water from a mountain spring. Backing him up on the falsetto parts is Pratt, who recently turned some heads with his Pratt & Moody release "Lost Lost Lost" on Stylart Records, and together the two basically NAIL IT.

When looking for artists, who just seem to move through time effortlessly with a steady air of confidence, passion and precision, one might pick up the phone and give CJS a call. Even though his discography of couple of late 2000's albums and some guest spots in early 90's soulful house 12"s is a bit mysterious, there seems to be not one bit of difficulty to his craft or personality. As a recording artist, "I Can't Love You Anymore" is a new opening into raw soul territory, and it is just what the world needs today. He laid down an album worth of tracks on his last Helsinki visit, and this might be something to look forward to.

S>>D aka Sean Dorris from Belfast delivers his debut album 'Co Intel Pro' on CPU. Refined sampling alongside hip hop influenced breaks sees S>>D operating in a similar dimension to VHS Head. Reminiscent of 1980s sci-fi soundtracks interwoven with IDM-tinged electro, haunting atmospheres prevail throughout with hints of a genre that has yet to emerge. Presented over 2x12" vinyl at 45rpm for superior sound quality.

Fans of Pye Corner Audio, Gescom or indeed anything on Skam will certainly dig this.

The Make Mistakes ethos is one of diversity and evolution, and that is showcased in full on our newest vinyl release Need Your Luvin'. House, Acid, Techno, Roy England, Jarvi, Fredy Grogan. One track, three styles, all dance floor bounders.
Roy England's original mix is a jackin' house jam with a timeless vibe. A classic house sound propelled forward by the titular vocal sample, England manages to deliver a track that would work equally in the lounge, as well as late night in the big room.
On the B side Jarvi's Acid Workout strips the original down even further, and fills it back up, with a wandering, hypnotic acid line to stitch it all together. An old school party sound, both familiar and fresh. Fredy Grogan deconstructs the original into its component parts, building it back up into his dark, and driving dub techno remix. Drawing it out over nearly 8 minutes, this'll have the heads bouncing off the walls.

House, Acid, Techno, pillars of dance music, mixed together, given the ol' razzle dazzle, and served up hot and ready for mind, body, and soul. Grab Need Your Luvin', stick it in the crate, and never worry, because you'll always have the Luvin' you need.

'Beware the irrational, however seductive. Shun the 'transcendent' and all who invite you to subordinate or annihilate yourself. Distrust compassion; prefer dignity for yourself and others. Don't be afraid to be thought arrogant or selfish. Picture all experts as if they were mammals. Never be a spectator of unfairness or stupidity. Seek out argument and disputation for their own sake; the grave will supply plenty of time for silence. Suspect your own motives, and all excuses. Do not live for others any more than you would expect others to live for you.'

---Christopher Hitchens, Letters to a Young Contrarian

Returning to Metalheadz for the first time since 2010 we're delighted to have Seba grace the label with his 'Node 46' EP. The magical combo of Seba & Robert Manos head up the release with the Swedish producer also providing us with the dark and relentless title track on the other side. Two further digital bonus tracks complete an EP typical of Seba's incredibly unique style, one that he's so consistently built his reputation around.

Originally released in 1993 by the Italian imprint Minus Habens Records, 'Concrete Jungle' is the second album by this seminal project of Dirk Ivens (The Klinik, Absolute Body Control). A work considered as groundbreaking by lot of fans of early 90s industrial, noise and EBM. There are few electro-pioneers that are still active and successful and Mr. Ivens is one of them, inspiring a lot of acts to follow in the past three decades.Concrete Jungle' is being released for the first time on vinyl in a limited/numbered edition of 700 copies. Double record including all the original tracks plus the 'Extended Play' EP (1994) and some songs from old compilations. Artwork based on the original design and presented on a deluxe gatefold sleeve with printed inner sleeves and numbered card.

Don't wanna move to Southern California / I wasn't really meant for LA...' So sang Dent May once upon a time, now he's eating those words with a side of avocado toast in his new Los Angeles bungalow. What made the lifelong Mississippi boy pull up stakes and head west No one looks at you funny if you wear a tuxedo to the supermarket.' What he means is he moved there to shake up his surroundings, clear his head, and write the most accomplished record of his young career, the magical mystery tour de force Across the Multiverse.

Following the lead of musical-polymaths-with-LA-ties before him like Brian Wilson, Van Dyke Parks, and Harry Nilsson, Dent's style on Across the Multiverse will be familiar to fans of his previous work. Yet there's something more refined about this collection... Stately strings mingle with boogie piano like old friends. Synths weave a celestial backdrop throughout. Every verse, bridge and chorus in its right place, giving it the unmistakable feel of a true songwriting craftsman at work. Lyrically Dent has never been sharper, musing on themes like modern romance ( Picture on a Screen', Face Down in the Gutter of Your Love'), existential dread ( Dream 4 Me', I'm Gonna Live Forever Until I'm Dead'), and the distance to the moon ( Distance to the Moon') as he searches for meaning among the infinite scrolling feeds of our 21st century augmented reality. The title track, a duet with Frankie Cosmos, is a deep space love song about finding love beyond impossible boundaries.

Across the Multiverse was written and recorded in a sunny bedroom in LA's Highland Park neighborhood, with Dent producing and playing nearly every instrument himself. The tracks were selected from dozens of songs written after the LA move, a gold rush of productivity inspired by late nights DJing rare disco funk cuts at local watering holes. It's his first record for new label Carpark and will be released August 18th.

Dent May is a self-described hotel bar lounge singer and aspiring daytime TV talk show host - has been charming his way into the hearts of music fans since the release of his debut album The Good Feeling Music of Dent May & His Magnificent Ukulele on Animal Collective's Paw Tracks label in 2009. The Mississippi-born, Los Angeles-based songwriter, performer, and Dolly Parton enthusiast has since released two more acclaimed records, Do Things (2012) and Warm Blanket (2013), dropped the holiday smash I'll Be Stoned For Christmas', and played hundreds of shows from Shanghai to Chicago. His latest album, Across the Multiverse, is an interstellar voyage of mythic proportions.

After his well acclaimed soundtrack lp on Hivern Discs,Brussels based producer Lawrence Le Doux is returning to homebase Vlek for his next offering. And what a project it has become: Le Doux, heads first, dived deep into the Belgian national history of electronic music, and came up with a   sampler covering the various fields the Belgians have explored over the last 30 years.  
From digi dub over simple drum computer house to one­man industrial cassettes: 'Host' has it all." 
Lawrence Le Doux opened for   Matias Aguayo in one of Brussels' major venues: Ancienne Belgique earlier this year.   
Lawrence Le Doux' latest album was released on Hivern Discs (Music For Documentaries' -  3,8/5 on RA)
VLEK designer Dimitri Runkkarri's take on the analog type press / glass printing process: With Lawrence Le Doux, from the beginning (with "Terrestre", 2014) we used different materials to print out the sleeves. We used cork, overlapping letters, plastic cross for wall carving.
This time, I had some glass left at the workshop. We wanted to try. We broke it on the press then printed it with all the texture, scratch, accidents caused by the pressure of the press..."

Wrong Assessment has turned some heads in recent times. Shortly after the launch of his AWRY imprint he debuts on Planet Rhythm with a full EP. Close To Red EP is a four track spanning journey through sophisticated techno. WA's range is very wide. He goes from beautifully orchestrated tracks such as Weight of Truth to the neurotic sounds displayed on Close To Red and Bologna. A very diverse debut from a producer whom we expect to hear more often on Planet Rhythm.

British producer Portrait (AKA South London Ordnance) & Somne collaborate on new imprint - Aura Dinamica. The inaugural release arrives courtesy of the duo themselves with Speed, Noise, Machinery & The City. Born out of a series of particularly productive, fast-paced collaborative sessions in Berlin, the three track EP draws on the spirit of classic Plastikman & Basic Channel, eschewing greyscale linearity in favour of high-energy emotive leads, rich texture & groove -with moments of heads-down introspection enjoying as much space as outright dance floor fervour.

Under the alias of Zanov we find the works of French electronic pioneer Pierre Salkazanov, who had started playing guitar in the 1960s in a Shadows styled band, Les Ambassadors. Instrumental rock was not enough for Salkazanov, he was always looking for evolution, so when a meeting with French synth player Serge Ramses (of "Secret" fame) got him into the world of synthesizers he just dived deep into the bourgeoning world of electronic music. He got himself his first syths and started producing works into a 4-track Teac tape machine. French music was at its best, it was the time of Jean Michel Jarre, Didier Bocquet, Richard Pinhas and Heldon, Alain Meunier... Even Gong's Tim Blake was living in France at that time. And so Zanov soon caught the attention of Polydor, who released Green Ray in 1976. It is a work made with minimal equipment if compared to other French sythetists, not to mention their German peers, he worked on the EMS VCS3 synth and used a 4-track Teac and a Revox A77 Mk IV reel to reel tape recorders obtaining huge sound results. You can appreciate an influence from the Berlin school, Green Ray walks the same path of what artists like Tangerine Dream and the likes were producing at the time, Zanov had felt under the spell of Ricochet, but his head was boiling with ideas which gave the recordings a very personal, unique touch.

Zanov's three albums met with unanimous critical acclaim for the sound quality as well as for the originality of this very personal universe.

Picking up the gauntlet from DEXTLTD001 by Bodyjack & Special Request the 2nd Release on the DEXT LIMITED series comes from one of DEXT's staple artists Otik , backed with a blistering jungle remix from Dead Man's Chest Essential stuff for all Bass Heads !

(Disclaimer: release notes refer to the combined CD double-album release "Hot Flash: Best of The Voltags" on which all tracks appear together. "Electric Nightmare" and "Danger High Voltag" are released separately on vinyl format)

It does not happen that often any more that unreleased music from 40 years ago surfaces. Even more unlikely it is that the songs put on tape are such treasures. The Voltags were right at the forefront of the local Washington DC New Wave/Punk scene of the late 1970s. Influenced by Kraftwerk, Gary Numan, The Clash, and The B-52's, they have released only one 45rpm single during their existence. But during the time span of not even 18 months, they had recorded enough material for an entire album - but the songs remained in the can.

This is the story of The Voltags, a short-lived band which could have become famous and mentioned in the same breath as the aforementioned music legends of that era - if their songs had been released back in the day. Dive in and enjoy the sound of The Voltags, it is truly special. We here at Perfect Toy are thrilled to be label to finally release their work and we sincerely hope that they are finally getting the appreciation they so richly deserve.

Detailed information:
Dave Bennett and Hangnail Phillips grew up in Brookside Park, Newark, Delaware, USA, a small suburban college town nestled midway between Philadelphia and Baltimore. Their first band project evolved into Pump Productions (Pump) under which they released their only 45rpm single in 1970 (one of the two songs, "Pappy's Rug", can be heard on "Down & Wired 3", Perfect Toy Rec.). Soon after the recording of the single the two graduated from High School and disbanded Pump. Both moved on to form two new Newark bands. Dave was a founding member of "Snake Grinder & The Shredded Fieldmice" and Hangnail co-founded "Rudy Baker & The Vegetables".

In early 1979, two friends of Dave's, Nick Norris and Mike Fisher, became partners in a music production company, White Clay Productions. One of White Clay's first artists was Dave Bennett who had just written two excellent songs: "Electric Jungle" and "Son Of Sam". White Clay set up a recording session and Dave assembled a group of friends to record the songs. Before the recordings were even mixed, Dave asked Hangnail if he would join in a band to support the single and other songs he had written. When James Keesey (drums) and Rick Reid (bass) were added the line-up was complete. For a while they didn't have a name and then one day Nick Norris was looking at a photo of Dave standing next to a "Danger High Voltage" sign. Dave's head was in front of the E in Voltage and Nick laughed "Danger High Voltag" and so it was soon suggested that the band should be called "The Voltags" (pronounced Vol'-togs). After months of preparing a repertoire they were ready to play out. Their first gig was (October 20, 1979) at a gay disco in nearby Wilmington called The Backstage. On December 30, 1979, White Clay decided to put on a big show at the State Theater to celebrate the end of the Seventies ("The End Of The Decade Bash").

For the next year, with the help of White Clay, they recorded 19 songs, both studio and live recordings with White Clay's mobile unit. If not for these "off the board" recordings, many of their songs would have never been recorded. There was always talk of a second Voltags single but the strains of working so closely together were taking their toll on them and Dave decided to leave the group in December of 1980. The Voltags couldn't be The Voltags without Dave, and by the end of 1981, Hangnail, James and Rick, too, were ready to disband.


- all songs previously unreleased
- mastered from the original reel-to-reel tapes
- limited vinyl release

Fernando Pulichino is no stranger to Leng Records. The bass guitar-wielding Argentine made his first appearance on the label five years ago via the cosmic disco/psychedelic rock fusion of Blue Impala, returning two years later with the similarly inclined brilliance of Giant Desert. Pulichino then resurfaced on Leng late last year with a superb, digital-only three-tracker called Natural 77.

Now he's back on wax, buoyed by the success of the acclaimed Shining EP on Is It Balearic
Recordings. This time round he's in Search of Indigo, shaping hazy, sun-baked soundscapes around his distinctive basslines, echo-laden synthesizers, meandering Fender Rhodes solos,
gentle dub vibrations and glistening, early morning jazz guitars. This is music for the heads, hips and feet, soaked in Fernet and left in the afternoon sun to slowly ripen.

Arguably the most arresting of the four cuts is the title track, a head-in-the-clouds vocal number rich in bubbly electronic riffs, laidback electro beats, ricocheting percussion hits, swirling wind
effects and rubbery funk-rock bass.

Pulichino's penchant for intergalactic disco shufflers once again comes to the fore on killer Sundown Visions', a saucer-eyed chugger that simultaneously throbs, pulses and sparkles
thanks to sparring synthesizer motifs and eyes-closed space rock guitars. We suspect Daniele Baldelli and Andrew Weatherall would approve.

Elsewhere, Pulichino indulges his passion for sofa-surfing jazz-funk on solo-laden EP closer Frontera', a relaxed and undulating jam rich in cascading electric guitars, fluid electric piano, delay-laden flourishes and deep space synthesizers. You won't know whether to lie down, dance enthusiastically or wearily shuffle, either way, play at sunrise or sundown for maximum
enjoyment.

The EP also boasts a first vinyl outing for the title track of last year's digital-only EP, Natural '77'. Seemingly partly inspired by legendary West Coast funkateers Steely Dan, it's a lazy, low-
slung affair full of languid guitar solos, freestyle vocal improvisations, bongo-laden drums and one of his most inspired and elastic basslines to date.

**INITIAL 400 LPs CONTAIN A BONUS 7" BY MEL-O-MADNEZZ**

IT'S TIME TO PAAAARTY! Why The Universe knows that Tramp is celebrating their 40th trip around the sun in 2018. And what about planet Earth Well... it is as blind as it is in so many other situations. Therefore, it is time to shine the light on Tramp for all of its unremitting efforts. As musical diversity is vanishing, especially in the field of African American music from the 1960s/70s, it is our duty to stop the extinction of threatened species of music in the same way an animal welfare activist would do anything to save a gorilla's life. Tramp Records keeps this beautiful heritage alive, every single day, again and again and again. So we are here wondering why Earth people and especially to those from our beloved home country, why why are you just sitting there, going about your life unaware of this historic event What a pity!

The announcement is especially striking when it comes to the prestigious "Movements" series. Like all its predecessors, this ninth volume contains Rare Groove nuggets recorded between the early 1960s and the late 1970s. The fact that only one of the songs appear anywhere else is a jaw-dropping phenomenon! The chronological track listing starts with two amazing cover versions: "Fever" by Gee Gee Shinn & the Boogie Kings and "I'm A Woman" by Connie Kaye Trio. Bus Brown, Earl Demus and Chuck Finney remain in the same direction although their contributions are slightly jazzier. Chick Willis' gut-wrenching "Sometime Soon" easily rivals James Brown's "It's A Man's World" and the recordings by Australia, J.R. and Joe Akens are beautiful examples of privately produced soul from the 1970s. The latin-soul of "Cho Cho San" by Hummingbird 4 heads the sound in another direction for the next three tunes, highlighted by one more stunning cover version, Oscar Brown Jr.'s "Brother, Where Are You". The album closes with some pre-disco tracks from the mid-to-late 1970s. Funk 7" collectors will freak out to finally get a chance to listen to Mel-O-Madnezz' superheavy "What You Getting High On" but will certainly also enjoy The Counts, Reunion and Hot Cakes' dance floor bomb cover of "Harlem Shuffle".

Over a hundred great unknown songs have been re-released on the first eight volumes in the "Movements" series, the majority of which can not be found elsewhere, and Vol. 9 is no exception. The work of Germany's tiniest but grooviest record label is still incomprehensibly underestimated. We know you diggers, collectors, mavens, aficionados, fanatics, completists, enthusiasts, and just plain record geeks know what's up and we heartily salute you! Without your support there would be no Tramp Records. But now it's time for a broader cultural shift for good music and a sweeping move to uphold the legacy of the unsung heroes of funk and soul. Therefore, we humbly petition you: in 2018, Don't keep all this glory to yourself! Turn your friends and neighbors on! Thank you!

- initial 400 LPs contain a bonus 7" by Mel-O-Madnezz ("What You Getting High On")

- the double vinyl LP comes with a full album download code

- deluxe double-gatefold LP with detailed liner notes, label scans & unseen photographs

- all but one song appear on vinyl-LP for the very first-time

The fourth release on Trevor Jacksons Pre- Label is by SKULL. A visceral journey into experimental noise and no wave avant grade beatscapes
The last SKULL release 'SNAPZ' appeared on Jacksons own Output Recordings label in 1999. A seminal collection of tracks that had previously featured on the first two legendary Mo wax 'Headz' compilations (also featuring Autechre, Beastie Boys, Air, and DJ Shadow) as well as tracks that had also appeared on Kevin 'The Bug' Martins notorious Macro Dub Infection albums during the mid 90's.
Reactionary sonic statements aimed at the coffee table world of Trip Hop, fuelled by his dissatisfaction and dissillustionment with Hip Hop of the time, Trevor pushed himself into uncomfortable and far more extreme areas than he had before, areas he felt unable to explore with his Underdog productions, which were mainly being utilised for major label remixes at the time.
Influenced as much by the industrial pioneers, post punk and new wave of the past as the burgeoning post rock scene in the mid 90's, This new set of previously unreleased recordings originally produced between 1996-2000 are equally as intense and visceral as the early releases. Dusty samples, raw beats, tape loops, and primitive effects combine to sound as relevant now as when they were initially created.

Record Kicks proudly presents "SuperStudio" the new single by legendary Italian cinematic funk combo Calibro 35 sampled by Dr.Dre and Jay-Z, taken from their forthcoming new studio album DECADE

"SuperStudio" - available on a super limited edition 45 vinyl and digital download together with bonus track "Gomma" - is Calibro 35's first single and anticipates their new album DECADE that hits the streets next 9 February. Quoting the band "SuperStudio is the main theme for a movie that doesn't exist, starring Clint Eastwood and Pam Grier saving earth from the invasion of deadly robots from another planet" and it's pure Dynamite. On the flip you'll find "Gomma", the bonus track out of the album which is an irresistible funk groovy shaker.

Recorded at the legendary Officine Meccaniche studios in Milan by CALIBRO's usual suspect and Grammy Award winner Tommaso Colliva, "DECADE" marks 10 years of Calibro 35's releases and it's the very first album recorded by Calibro with an orchestral-inspired enlarged line-up. Active since 2008 CALIBRO 35 enjoys a worldwide reputation as one of the coolest independent band around. During their ten years career, they have been sampled by Dr. Dre on his Compton album and Jay-Z, they shared stages worldwide with the likes of Roy Ayers, Muse, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as "the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years", Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

The Single > Side A 'PHRAKHANONG DISORDER' is T.D.O.S. second single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is a bass battle on a downtempo hard drum beat, hypnotic and chaotic like Bangkok's streets. Phra Khanong is a neighbourhood of this megapolis where hip hop culture meets local traditions. Side B is 'NAMBA VIBRATIONS' with DJ TO-RU fine cuts on a dirty digital mish-mash of bass and dub beats,. Just in tune to get lost in electric downtown Osaka before heading to the dance floor facing a massive sound system. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few.

The Single > Side A 'PARALLEL UNIVERSE' is T.D.O.S. debut single featuring Thai rapper MC Sinnamon (Dujada-Dubway), is an cosmic trip between the heat of Chennai's bazars and Bangkok chaotic streets. Based on a rare indian library sample, Side B is 'WAT THAT TONG' featured samples of Thailand molam queen Yenjit Porntavi with modern dub beat and indian percussions. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

The Single > Side A 'BAILAN BREAK' is T.D.O.S. third single featuring Japanese turntablalist DJ TO-RU (Dujada-Goja) is Side B is 'UCHU DAIKAIJU NO BALLAD' (The Ballad Of The Space Monster) featured samples of Gozilla dialogues with a scary soundtrack mood.on a progressive and experimental beat. The Artist > The Dude Of Stratosphear aka T.D.O.S. is Jerome Doudet (Swiss/French artist and bass player based in Bangkok). DJ, vinyl collector, musician, graphic designer and East Asian music connoisseur, The Dude of Stratosphear was groomed in the vibrant alternative scene of the very international city of Geneva Switzerland. Growing up in a musical household (His father was a disco DJ), Growing up in a musical household (His father was a disco DJ), Jerome was exposed to a wide range of music at very early age, and started playing the 4 strings at the age of 10. Bass player in the swiss math-core bands Knut for a decade, he toured intensely all around Europe's biggest venues and festivals. He also joined the very underground american band Half Japanese for a couple of european tour and recorded the album Bone Head in 1997. And on top of the list was opening for the mighty KISS with the canadian band Bionic (CA) at Molson center in Monteal. Also member of various bands such as Imericani (SP/IT/CH), Intercostal (CH), Troll Patrol (CH), Bliscappen Van Maria (CH-IT), Edison (CH), Polar (CH-FR), Prejudice (CH-FR), Buz (CH), Void (CH), Ultra DB (CH), to name a few. Aside from the rock scene, he was also part of the multimedia team Ultra Pepita , developer of the today's world famous VJ software Modul8.

'The Layered Effect' by US rapper/producer Andy Cooper offers a punchy reminder of the creative fun to be had in digging for breaks, stringing up loops and layering up stratas of sound. Brimming full of delightful inflexions from the world of jazz, easy listening, film soundtracks and Hollywood voices, it's a perfectly stitched sound patchwork that pays loving hommage to the classic, funky days of early rap. A touching testimony to the joys of Hip-Hop then and now.

More than just the skinny white dude who's into old school beats, Andy Cooper has won his stripes after a twenty year stint with Hip-Hop trio Ugly Duckling, then a couple more hanging out with The Allergies, not to mention the recent release of eight 7" singles, an EP and now his second solo LP.What is utterly charming is how enamoured and respectful he is of how it was at the beginning AND of how it still should be.Far from being the "old timer/delusional revivalist" he describes in 'Last of the Dying Breed', Cooper cares not about colour or age, but that rap stays fresh, exciting, competitive, similar to a precious martial art.

For Andy, rap is a noble form. He's a wordsmith extraordinaire, snappy and audacious, tipping his hat "to all the microphoners who still bring that dedication and expertise to their craft" and choosing to work with equally rapid sparring partners like Blabbermouf and MC Abdominal. Ownership of the genre is a constant theme throughout the LP. Like a contact sport, you punch and fight your way to the mic and once there "no one can take it from me". Reverance is constantly being paid to the dons that went before, overtly Rick Rubin & the Def Jam crew, but covertly the reggae sound systems and jazzers of old.

Not a sloppy note or shabby rhyme here.It's an album that pops and fizzes with quirky beats and funky rhythms from start to finish. With production lines neater and sharper than a pair of sta press trousers, it's impossible not to be seduced by the sheer bouyancy of the lyrics, beats and intention. A refreshingly entire body of work with no low points, only head-nodding highs. It's good to stumble across a hip hop album that has you giggling, thinking, singing and wearing out the soles of your shoes all at once.

ORBE is no stranger to the hypnotic side of techno, and his newest release on Eric Cloutier's recently created Palinoia label properly allows the Spanish artist to do what he does best. Four tracks of deep, psychedelic techno, all slightly twisted and quirky in their own way, the entire EP is perfect for those headsdown nights deep in to the morning on the dancefloor of your favorite darkened club.

Motörhead, Kings of the Road for over förty years, are immortalized one more time in Clean Your Clock, the superb live album recorded at The Zenith in Munich, Germany during the Winter 2015 Bad Magic tour. The indomitable cocktail of power, purpose and head-crunching volume that Lemmy Kilmister, Phil Campbell and Mikkey Dee always succeeded in producing is captured superbly by long-time producer Cameron Webb's mix, giving this landmark Motörhead release the warmth, curve and punch which helped the band achieve international acclaim during a career which saw the Grammy-winning icons sell over 15 million albums and play to millions worldwide. 

Clean Your Clock is also a fitting salute to the power of Ian 'Lemmy' Kilmister, who founded Motörhead back in 1975 and so sadly passed away on Dec 28th 2015. Recorded only weeks before, Lemmy snarls, roars and bangs that bass with the magisterial air of a man who knows he's a leader.

Perhaps more than with any other Motörhead album, you need to TURN-THIS-UP because as Lemmy himself said, the only way to feel the noise is when it's good and loud...

KMD1 is not an ambient opener. It's the sound translation of your nightmare's anxiety. Don't be scared, it was just a dream.
Intentional Drowning is a bridge to the underworld. Let the syncopated groove fl ow through yourself and brace yourself for another dimension.
Aquaris Monopole takes you in a sub heavy journey towards the dancefloor. The urge to dance will be stronger than first expected.

All tracks mastered by Pole at Scape Mastering in Berlin.

Fathered by Lium, dj active in the Belgian new beat scene back in the late 80's, Cabasa is the continuity of his father's passion. Drawing influences from electronica to jungle and techno, his sound is an hybrid bass music genre. The will to make people dance has definitely been passed down though!
Resident dj for the Under My Garage party concept in Belgium and 199Radio in London, Cabasa is the kind of new blood that kicks you in the head: his sound is a threat, a menace, a danger to your existence.
He's also able to pick up the records you would never play out and make the crowd dance on a level you've never dreamed of. And should you give him that old synth you've never been able to get something of: he will use it and produce the most futuristic sound.
In a nutshell: don't forget his name, in a few you will follow him around the globe.

New Flesh Records 19 Ever wonder what would happen at the first minuts of an Alien in-vasion Answer can be found on Geometric Vision', the debut EP of Hungarian electro don Norwell on French New Flesh Records. Real name Balázs Semsei, Norwell has turned out a steady stream of releases on labels like Dalmatia Daniel, Pinkman, Chabu Recor-dings, Seagrave and his own Farberwechsel imprint until now, always coming on strong with a personal artistic vision plus a sense of drama.

Across four craftily cuts on Umwelt's label, he revisits his own dystopian universe made of sonic frequencies fused into rich atmosphere with a strong array of emotions. From the haunting opener Geometric Vision' to the explosive final Conversation Patterns', Nor-well signs one of his best release to date.

Fascinating synth melodies supported by raw drums and insane electro textures compose this must have 12'' and an essential addition to the New Flesh catalog. Heavy electro darkness for serious heads, this is a soulful EP full of depth, impossible to ignore!

Art pop meets Mongolian throat singing, Blade Runner meets Walter Carlos (Clockwork Orange), Tom Dissevelt and Kid Baltan (Bowie's favourite band) meet Tame Impala.

The fifth album from Marsmobil has been hailed by many as their best yet. With closer ties to Minx' (2006) than the last two albums, Fairytales Of The Supersurvivor' returns to Marsmobil's signature strength of wondrously brilliant songs ( And The Fishes In The Ocean', Shadows Of The Inner Light') that blend off-the-wall cinemascope sounds with dazzling beats and punchy, powerful hooks to create uniquely distinctive art pop anthems.
As always with Marsmobil, Roberto Di Gioia writes, plays, sings and programs everything himself. Here, as on Minx', he's brought in support from a fabulous singer - the very wonderful Amber Lin, who contributes vocals on four songs. All the cover illustrations are also by Di Gioia.

Multi-instrumentalist Roberto Di Gioia needs little introduction. The curious can explore his biography, discography and extensive lists of projects and collaborations as musician and songwriter (see below) for an impression of the hugely diverse achievements of this multi-talent and brilliant musician.
As a topical heads-up, Roberto Di Gioia is also the founder of the German jazz supergroup Web Web and released the album Oracle' in September 2017. The second Web Web album will follow in early 2018, hard on the heels of the fifth Marsmobil release. Di Gioia also wrote and produced Teufelswerk' for DJ Hell and contributed virtually all the songs on Hell's latest album, Zukunftsmusik'.

Masterworks Music returns with their illustrious 10" vinyl-only brand, The Masters Series. Stepping up to handle duties on this fourth instalment is none other than Tel Aviv's own Obas Nenor.
Having made waves with his previous outings for Defected, Heist Recordings and his own label, Nenorian, not to mention EPs for the likes of Strictly Rhythm, Mahogany Music and a slew of 12's for Whiskey Disco as half of Rabo & Snob...let's just say the man gets around! Now unleashing his 'Weirdo disco' style on Masterworks Music Here, he packs his studio creations win a tidy, 10" format with a double-header with "Candies" on the a-side and "Stay" holding down the b-side. 'Candies' offers the perfect counterpart with a shuffling, low-key vibe. Every much as danceable as the flip, "Candies" pairs jangling guitar riffs with vocoded rhymes and more undulating vocal snips. Clavinets dripping in wah-wah wackiness keep the mood light and funky and recall the glory days of acts like Faze Action and Crazy P.
Flipping over to the B side 'Stay' wastes no time getting down to business with wonky, percussive intro that launches head-first into a stomping Moog-bass groove. Layers of vocal samples undulated and punctuate the rock-steady disco beat while chords and claps get the hips shaking.
Cracking' tackle for any modern disco head, these are sure to blaze up the night!

Hailing from Mali, Amadou Bagayoko and Mariam Doumbia first met as children at Mali's Institute for the Young Blind—both lost their vision at an early age. It was here that they started performing in the institute's Eclipse Orchestra, eventually marrying and began recording together in the '80s.

Over the span of three decades Amadou (guitar and vocals) and Mariam (vocals) developed an international following having recorded eight full-length albums and toured around the world. Their album Welcome To Mali (2008) was nominated for the Best Contemporary World Music Album' at the 52nd Grammy Awards. Tour highlights for the duo include supporting U2 on their U2 360 Tour, performing at the 2010 World Cup for FIFA's Kick-Off Celebration and performing alongside major acts across multiple genres such including Blur, Coldplay and Pink Floyd's David Gilmour.

The album also includes the hit single Bofou Safou,' which Stereogum calls the funk, the whole funk, and nothing but the funk.' The band discussed La Confusion and performed new music on a recent stop at KCRW's Morning Becomes Eclectic' during their recent sold out North American seventeen city headline tour — watch HERE. The band played major markets including New York, Los Angeles, San Francisco, Chicago, Washington D.C., Philadelphia, Montreal.

Amadou & Mariam recently released the Bofou Safou EP via Because Music. The EP includes the first two La Confusion singles, Bofou Safou' and Filaou Bessame,' alongside remixes of the EP's title track by Fatima Yamaha, Africaine 808, Henrik Schwarz and more. The term bofou safou' is a Bambara (the Malian national language) nickname given to nonchalant young men who would rather dance than work. Of the new EP, the group notes, We really like the remixes that were made for the EP. You get to hear our music in a different form, which is great. All five remixes manage to catch the essence of our song while really pushing those enticing afro pop and electronic vibes further.'

Villa Åbo in the alternative solo project of Swedish musician and Villa Åbo in the alternative solo project of Swedish musician and producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg. 'Magnetic Moves' is Villa Åbo's debut album, originally released inan limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in at over 46 minutes, this first-ever vinyl edition spreads the 8 ragged techno tracks across four sides for maximum loudness. Some songs are aggressively potent, with cyclical synth riffs and razor-sharp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.producer Jan Svensson, who has been making electronic music for the better part of 30 years as the artist behind such aliases as Frak, Studio SS and Alvars Orkestra. Svensson also runs legendary Swedish dance and experimental music label Börft, the product of a mutual appreciation for Severed Heads and Terse Tapes. As Villa Åbo he released two records in 1997 on Börft and remained inactive for 17 years until the Dutch label Bio Rhythm coaxed him into revisiting the project and released a double 12 in 2014. Jan has since followed with a steady stream of 12' singles for Kontra-Musik, Noise In My Head and Radio Lundberg.'Magnetic Moves' is Villa Åbo's debut album, originally released in an limited edition of 65 hand-numbered cassettes by Funeral Fog in 2016. Clocking in atover 46 minutes, this first-ever vinyl edition spreads the 8 rgged techno tracks across four sides for maximum loudness. Soe songs are aggressively potent, with cyclical synth riffs and razor-harp acid lines riding a heavy, funk-fuelled techno groove. Others tracks are more fluid, vintage Underground Resistance or Derrick May with killer drum machine workouts that come in handy as DJ tools. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. The record is housed in a custom made jacket designed by Eloise Leigh, featuring a photograph of Jan's mother's house, the meaning behind 'Villa Åbo'. Each copy includes a double-sided postcard with notes.

Tachyon Audio is a new vinyl label that's focused on forward-thinking sounds in the techno realm targeting sweaty, dark places, with large, high-quality sound systems.


Inhabitants make a strong offering with their first EP as a duo, IGC. These two primates are often found inhabiting dark spaces, forging ahead on complex math equations. Their distinct, driving, mathematical, and drumming techno is a result. Expect more solid work from these two mysterious beings on Tachyon Audio as the label continues its progression.


Tachyon Audio is coming out of the gates strong with a diverse EP that touches on three techno sounds that are helping to lead the march forward into the future of sound production. The first Tachyon release comes from the mysterious dark studio of Inhabitants, who's inaugural release as a collaboration is sure to move feet on a diversity of dance floors. The A-side track, Mut14 (sc8.18 Mix) (A1) is a futuristic pounder that weaves its way into a frenzy with subtle yet penetrating synths that sweep through the soundscape. The simple and sound drumline will keep even the pickiest selectors satisfied. Side A ends with two separate open-source NASA space samples. The first, Iota_20_0.998_h (A2), is the repeating sound of two orbiting neutron stars. The second sample (A3) is two 50 solar mass black holes spiraling into an inevitable collapse, eventually becoming one. These samples are poised for reuse in production and make for good intro and looping material for performances.


The second side of the EP starts with the dark broken beat track, Mut7 (B1), that starts with a solid groove and works its way into a breakdown that captures the mind with a chopped and effected late 1990's Frankie Bones vocal. By the end of the track you'll be left wanting it to forge on, as it can flow well with a wide range of techno sub-genres, especially the dark, more broken beat tip. Inhabitants then continue to make their impression with Mut10 (B2), a track molded around an originally crafted 303 line that morphs and builds throughout and creates an atmosphere that separates itself from the remainder of the EP with a lighter, yet heady feel.


M=100 (2 - 50 Solar Mass Black Holes)

OMEN Recordings is off running to the industrial techno races againand this third release has already been gaining traction around the globe with high anticipation and support from many respected producers and DJs alike. The Puppetskin EP written and produced by German and French artists RENDERED with remixes by American producers BLACK ASTEROID and AXKAN is off to a great start. RENDERED starts off strong with the title track Puppetskin" (A1), with strong breakbeat kicks, thrashing snares and rich synth lines that are melodic and spacey. The dancefloor will surely love the Charles Manson samples. Nightmoves' (A2) also heads the pack with shuffling kicks while rich, minor-tuned pads take you on a persistent journey. About half way through, you will be moved by a 4/4 pattern that sneaks in and will be a favorite for the dancers. BLACK ASTEROID's remix of Puppetskin' (B2) does not disappoint as signature Black Asteroid textures and rhythms come alive in this rendition. Although it has rounded, full soundscapes that sound perfect for a large venue, its pumping, hypnotizing bass lines and screeching sirens keep you pulled into the darkness. AXKAN stays in the pack with his earthshattering remix of Puppetskin' (B1) by starting slow with a profound intro to then push the audio boundaries with his powerful kick and bassline, to gain more and more strength with vocal samples, distorted drums and FX. AXKAN uses every stem of the original in such a creative way to help win the race. This EP, soon to be available on vinyl and digital formats, exceeds the expectations of sound design and techno together. No matter what time of night it is, these tracks can be played in a versatile way. While still employing darker textures, a breath of light creeps its way in. Listening to this EP start to finish is definitely worthwhile.

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.

* Making his debut on Subaltern with SUBALT014 is Estonian producer Bisweed, famous for his trippy and intricate sound design and original take on bass music. A psychotropic journey into the weald, this is a typically dark and surreal release from the well-established Subaltern imprint.

* Shelter
Sinister sounds welcome the listener to the journey as we enter the weald. Dark synths lead into weighty bass-lines, embedded in driving percussive elements and a spine-chilling atmosphere. Tasteful orchestral elements accompany before reaching a climax of tribal percussion and pure bass. Bisweed's musical sensibility and dance-floor know-how blend symbiotically to create this heavy yet soulful bass music masterpiece.

* Swamp
Going deeper, haunting textures guide the listener into a pulsating implosion of low frequencies, which is bound to shake up the dance as well as your expectations of a quiet night in. Rumbling and chopping wobbles complete a captivating piece of sound system music. Tread lightly so you don't sink in too deep - the swamp might just consume you.

* Dolmen feat. Mentha
Like stepping into a clearing, Dolmen lightens the mood - but only ever so slightly. Chanting voices hail the listener, as wide planes of sound unfold into a bass-heavy yet deep stepper. Subtly and slowly, Bisweed is masterfully transitioning into a soothing and melodic vibe, featuring label head honcho Mentha on Guitar.

Rat Life Records presents Serial Error a Project by Credit 00, Jacob Korn & Sneaker. This outfit was brought to life in 2013 when Red D called for some New Beat style tracks for his "Our Beat Is Still New" Compilation. Flying a bit too low under the radar ever since Rat Life decided to reissue Drum Abuse on a Super Sound Maxi Single. The Track was made in Jacob Korn's headquarter studio / synthesizer museum. The task distribution was hit quickly: Jacob squeezing the acid out of his huge Formant modular system, Credit 00 beating the drums on the Boss DR 660 and Sneaker throwing his unique vocals on top!

For house heads of a certain persuasion, DJ Duke is a name that resonates for all the right reasons. The U.S. veteran has been responsible for some of the 90's most seminal moments, chiefly through tracks such as '12 Minutes to Do It' (under his Pleasure Dome alias), 'Party Time' and the Prosumer-endorsed deep house classic, 'Heard'. He returns here courtesy of emerging imprint Solo Werks, who host his latest EP, 'Green Pastures'. A momentous house-led workout, it compounds Duke's reputation as a producer of considerable panache while also acting as an auspicious start to life for the Dublin based label.

The title track is a grainy, old-school cut that bears all the hallmarks of a dusty analogue-jam and harks back to the days of vintage Chicago with the sort of zest you'd expect from a man of Duke's credentials. The other original, 'Skyscapes', is packed to the brim with industrial motifs and is characterised by the sort of effortlessly catchy baseline with which Duke has made his name. Mysterious and ethereal, it takes the listener on an uncompromising and throughly captivating house journey from the off.

On the flip side, we have two stunning remixes, the first of which arrives from New Jersey don, Ruben Candelario AKA Nicuri. A long-time favourite of NYC-based producers a la Joey Anderson, Nicuri turns 'Green Pastures' into a dreamy, acid-led space, adding layers of suspense and a glittering vocal intto the mix as he goes. Last but not least are Dublin-based producers Slowburn, who serve up a stunning version of "Skyscapes". A carefully construed voyage into the deep, it caps off a fine EP with some aplomb.

Officially now a duo, Merrill Garbus is joined by long-time collaborator Nate Brenner. Their new album, 'I can feel you creep into my private life', tackles race, politics, intersectional feminism and environmental prophecies head on. In the billows of intense subject matter the album is their most immediate and upbeat yet - this is Tune-Yards' music to dance to. The follow-up to 2014's acclaimed album, 'Nikki Nack', much of 'I can feel you creep into my private life' was recorded at John Vanderslice's new Tiny Telephone studio in their hometown of Oakland, CA.
To help finish this stunning record, they enlisted mixer Mikaelin 'Blue' Bluespruce (Solange, Skepta, Kendrick Lamar) and mastered it in Harlem, NY with Dave Kutch (Jay-Z, Chance The Rapper). LP format includes poster and digital download card.

Reless return to follow up on there first official release which was entitled Cycle, out on World Talk Records that included a bold yet hazy remix from avant techno engineer Shlømo.This time their foot firmly in the the mud, is a solid 4 tracks EP entitled, Circuitry merging classic techno components which they say focuses on creating "analogically modified melodic organisms". The eponymous title track « Circuitry » brings the listener into a field of near moving stabs synths, pulsing through- out the persistent motor rhythm. The follow up « Seed » germinates a melodious and deep sequence to sense growth of emotions into the listeners body. Reless stand by their motto of always repeating the essential, which can be heard strikingly through - out « Limitation » bringing us toward an end of an endlessly metallic grain storage silo.

To conclude, the hotly tipped Swedish producer Kuf (head of Arsenik Records) pulls apart the harshly stark « Limitation » exploring a rework focusing on the frustrations and jittering nervous pathways of the listener - speaking directly to the frontal lobe his job to reside purely at the edge of our mental limitations.

Tracy Island announces Episode 2 of the 10 piece concept series with 'The Unlimited'. This time the musical transmission comes from Beach Wizards, the secondary alias of the well renowned collective Seahawks, offering their interpretation of Island mentality. The release opens with the ever growing mood of 'The Diamond Sea' - 18 minutes of building disco strings and stabs, rolling bongos and percussion, and intermittent ambience with an A side offering a true listening experience. 'Don't you wanna get off.' Get out the city they called. The B side starts and ends with the lulling sound of midnight waves in a downbeat balearic boogie of rain chimes and head nodding subs. Between these tides interjects 'Lucky Dips' on the B2, with melodies from an aquatic saxophone from below the surface.

Matt Flanagan has been making music as DeFeKT, ESS and Tinfoil for the past few years, so who better to put out the debut release on First Cut We decided early on that there was no point in repeating his admittedly fine back catalogue, so Matt went off one evening and did a 30-minute live jam on his machines. There was no real plan, but between us, we picked the three best bits, which you now own. Then we had to come up with a name. Initially, we toyed with the idea of calling it 'FeKT' but then decided that only a local audience would appreciate the joke and that it wouldn't travel well. Octal Step then emerged as the clear favourite. We sealed the deal to release 'Toner Head' over a cup of takeaway coffee on a bench in the Stephen's Green Cente in Dublin. And why is Gunter Walraff on the other side of this sheet Well, he seems like a cool guy. Plus he's German and has a moustache - what's there not to like about that

The album is the fourth LP from FM Belfast. Broadcasting from their home on a remote island you can sense that the tracks are personal. The album has 11 tracks, 11 intimate stories to dance to. It's like you've been invited to a Cabin Fever Dance Party in their living room. The lyrics are about bliss, euphoria, trying to be a human in this strange world, friendship, of loss and growing up.
ALL MY POWER The first song of the album deals with guilt. When you're surrounded with people who wake up early and do everything they are supposed to do but you can't get out of your own bed. This will make you feel guilty. The others don't need to rub it in since you already have bad feelings about yourself. There are two characters in the song. One is a blamer while the other one is being blamed. FOLLOW ME I'm not longer blind, you can follow me". The song is about a person who is no longer blind to the world around her. It's about taking responsibility for your choices. We are not just a group of individuals, we are citizens of this planet and we can't stand idly by when powerful people are destroying it in front of our own eyes. We have ways to connect and we can band together against the hatred and violence. The rich and the greedy are taking everything and ruining it for the rest of us. Being kind is not the same as being naive, it's a choice everyone can make.

ENJOY
Enjoy life while it last. Don't watch the world go by without having a good time. "Here's to feeling alive, everywhere, all of the time".

UP ALL NIGHT
Sometimes you just postpone everything you're supposed to be doing and run away from your problems. The night is the best time for procrastination, you can hide in the dark and nobody can see you waste your life.

AGENT
Like many songs on the album, this one is about holding your head above water in this strange world we live in. It's easy to get blindsided and lost but who's going to speak up for the weak if you don't do it.

YOU'RE SO PRETTY
The lyrics for You're so Pretty originally come from a short story written by Lóa. They are about getting old without maturing. The song is about being restless and broke. Sometimes you feel like there is nothing left to do but shout.

STREAMERS
Streamers is a quiet love-story about having found the person you want to sit next to for the rest of your life and watch crappy TV together. Lyrics are by Árni and Lóa.

LEAVE A MARK
Even if things are not great today, there is always tomorrow. Leave a Mark is a personal reminder to do something about the life you are given and not waste time. It doesn't have to be important, it could just be writing your name on a wall. I little bit of "I was here" for the people who come after you.

FEARLESS YOUTH
It's a nostalgic song about being a fearless adolescent and the friends you used to have. The lyrics are written by Örvar who's also a founding member of MúM.

STROBE
The Strobe is an atmospheric track. It's made for people who want to dance in a euphoric bliss. The lyrics are like a mantra: It's getting dark so turn on the strobe. Don't think, just get lost in the dance.

THE GAME
The Game tells you to resist the power of bad people and bad governments. There's a big game being played and you don't need to participate, you can resist. The power hungry people of this world will never be satisfied but you don't have to support them.

Rough and rugged Jahtari 7-floppy disc with a rudebwoy riddim by the rub-a-dub hacker team Art & Naram, well known in the community for their Red Robin productions. Epic drunkard's tale by the fast chat originator himself on the A-side - Peter King is heading down to the pub this time, returning from Maffi's Killah Tape EP' with even more story twists, odd rhyme meters and a recipe for disaster. Jammed straight to an 8-track cassette deck in the Jahtari studio, mixed by disrupt and coming with an high density dub on the flipside. LOAD...... Limited 500 copies edition!

This Franco-Swiss trio is a three-headed beast, discharging a singular energy in which one may detect echoes of traditional music, saturated repetition, ethereal harmonics or imaginary choreographies.There are no starting points, no ending points, no standard form structures - these all disappear as the senses encounter the first shock waves. The music employs a rich timbral palette, combining long heavy descending harmonium sweeps, relentless percussion, and the ever more precise patterns and drones of the hurdy-gurdy.

Berlin based Japanese industrial synth duo group A make their debut on Mannequin Records with a killer 3-tracks self titled EP.
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Tommi Tokyo (synth, drum machine, vocals) and Sayaka Botanic (violin, tapes and sampler) released 2 studio albums and 1 live album in Tokyo, before to move in Berlin in 2016. With their mixture of dark minimal synth, avant-noise, striking visuals and performance art, the duo still carries on the very breath of early industrial pioneers such as Throbbing Gristle, Die Form, Klinik, Cabaret Voltaire.

The EP was recorded in Tommi's bedroom and later mixed together with Mannequin Records head Alessandro Adriani in his own studio in Berlin. The first two tracks of the EP, 'T.O.P.' and 'Ketabali' represents the duo personal reaction against the current economy, an up yours to capitalism, news and politics, all permeated by industrial rhytmic-noises and words with no meaning.
The B2 'Alibi' instead was inspired by an autobiography of Hi-Red Centre(Japanese avant-grade art group in the 60-70's) written by one of the members, Genpei Akasegawa. Tommi found the word "Alibi" in the book and she just started singing about the group. As she never wrote lyrics for that, during their live performances they are always improvised, so changing and mutating every time.

The latest release from Bjarki Runar's bbbbbb label sees Bjarki delving back into his vast archives and shines a light on a bizarre detour during the early days of the label that involved
a peculiar commission from the Icelandic state. Bjarki introduces the story; 'It was back in 2015 and we were only just putting together the original plans towards making bbbbbb a label. While this was happening, I got a call from a friend who was
working for a local tech start-up and marketing company. They'd been contacted by the Icelandic Ministry of Fisheries and Agriculture who came to them with a weird proposition.
They were looking at the idea of marketing Icelandic lamb as this user-exclusive commodity for high end restaurants, the same way they do with Kobe beef in Japan. His marketing company was going all in with this idea of creating an elite herd of sheep that would get the 5-star treatment - fresh food and beer, shampoo and geothermal baths for their fleece, and entertainment such as TV and music for when they were in the hills. That's where I came in'. The initial meeting between Bjarki and the marketeers however didn't go as smoothly as they hoped; 'When I met my friend and his team, they were going to have music pumped through a series of remote speakers across the hillside' Bjarki explains. 'But when they showed me what they were going to play to them, I almost fell of my chair laughing! It was all this
cheesy, easy listening, orchestral Icelandic bullshit. I said to them 'This is nonsense! Why are you bringing me into this project if that's all you're going to be playing' In the end, I told
them I would completely redo all the sounds and music they were going to be using. I was going to drag the Icelandic sheep into the 21st Century'. Bjarki was as good as his word. Over the summer of 2015, he spent several weeks at farm
locations near Kirkjubæjarklaustur and Reykholtsdalur, walking the hills and playing a variety of sounds and beats to various flocks of sheep to see what the best approach was. It
was tough going at first; 'At the beginning, I was working totally blind', Bjarki explains. 'Imean how can you possibly know what sort of modern music and sounds Icelandic sheep
would go for' But Bjarki persevered and he found certain sounds and tones made the sheep more active and engaged.
From this point, he began to make tracks that would encapsulate what the lambs were drawn to the most. 'A track like Soda 'Sugarlicious' for example, came about when I started
playing Candy Crush on the hillside. As I kept playing, the sheep began to gather around me showing interest in the bright chintzy sounds coming from my laptop and that deep voice that
would keep speaking to you. I simply put together a track that was all shiny colours and heavy on the chimes. The sheep fucking loved it!' A track like 'Drab' meanwhile was suited
for less sunny moments. 'I got caught in a nasty rainstorm, so I started playing these synth lines I had made, along with an improvised kick drum. The mix of the softness of the tones
along with the hit of the bass cased the sheep to follow me all the way back to the farm I was staying at. The farmer wasn't too impressed with that, but the flock was completely
hypnotized'. In the end Bjarki, amassed several tracks ranging from soft ambient to gnarly hardcore bangers to present to the Ministry. But in the end, they decided not to go with the whole
proposal. 'These people were fools', Bjarki says. 'They just couldn't get their heads around doing something completely different, that was a bit of fun yes, but was completely done in a
serious manner. We all spent weeks doing this stuff so yeah, it was a bit gutting'. In the end though, there is a silver lining to this story as these efforts were not wasted for we can now hear the best of Bjarki's efforts from this admittedly weird project on a limited 12'release that marks a storming 2017 for the bbbbbb label.

Brazilian master Teddy Mike presents his new album 'On Point'. 8 tracks 100% pure old school 80's funk. Fast-pace bass lines, sensuous melodies and sexy drum machines will delight all the funk freak heads around.

The third release in Danse Club's Black Series is a collaborative effort between Dutch tech house hero Lauhaus and countryman Rik Woldring with a standout remix from Boris Werner. Lauhaus has long been at the heart of the underground electronic music scene, releasing on go-to imprints like 100% Pure and Area remote as well as his own Soweso and We Dig. labels, whilst Rik Woldring is very much a talent on the rise who has impressed in Amsterdam with his unique after hours DJ sets. Together the pair crafts some infectious and charismatic grooves that fit perfectly with the increasingly essential Danse Club . Opening track 'Context' is a tight arrangement of looping bass, silky and silvery percussion and myriad sonic effects that create intrigue from start to finish. It's the sort of thing that makes you sweat on the floor but has enough detail to keep your mind occupied, too. Boris Werner, another stalwart of the Dutch tech scene, turns in a superb mix of 'Context'. His remix is deeper and more stripped back, with bobbling drums and perfect claps driving the thing along. Subtle pads warm things through and shadowy voices bring a sense of light night mischief to proceedings. Lauhaus & Rik Woldring then turn in 'Aint No Time', a liquid bit of shape shifting tech house funk that is rich with colourful melodies and well placed spoken word musings. It's music for the floor that is fun as well as functional and last track 'Spearmint' is just the same. This ones a bit tougher and more taught with rubbery synth and basslines wrapping round each other for 9 heady minutes as delightful synth patterns slowly smear and spread in the skies up top. Another cultured release from the Danse Club label that proves tech house, when done well, is still a hugely rewarding genre.

Classic !

Back fighting, kicking and beating as strong as or perhaps even stronger than ever before, Ivan 'Mamao' Conti is releasing a brand new solo album next year. Now fitted with a new iron hip- thanks to the immense generosity of his fan base who crowdfunded the operation - the Azymuth drummer still remains one of the greatest and outright funkiest drummers alive anywhere in the universe as he enters this new bionic era. As people of earth are not yet quite ready to hear the explosively ethereal cosmic samba of his new album just yet, we're easing into it with a series of appropriately propulsive percussive jazz-headed remixes. For the second 12' of the series we've enlisted two of the most on-fire producers in Germany: Max Graef and GlennAstro, along with one of the UK's brightest ascendant producers.

Killer release on Robsoul Jazz for J Dilla fans. Don't miss this out ! JFilt Live :

Formed in 1997, and inaugurated that year with a split 12' from new-comers and label founders, Solvent and Lowfish, this year Suction Records celebrates it's 20th anniversary with the re-introduction of their famed Snow Robots series of compilations. While originally started as a North American answer to UK electronix labels like Rephlex, Skam and Warp Records, a sound that is still a staple of the current Suction Records catalog, Suction's sound has also swerved into new territories, reflecting our love of dark '80s electronic music - synthpop, EBM, and beyond.... Snow Robots Volume 4 features an international array of artists, from Suction Records mainstays like Digital Poodle, June, Celldöd, and Ceramic Hello (with their much sought-after 1982 vocoder anthem), to label-favourites appearing on Suction Records for the first time: Beau Wanzer, Morah, and one of Skanfrom/Sleeparchive's lesser known aliases, Civil Defence Programme.

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.

Perc's third album 'Bitter Music' pushed his sound to further extremes than ever before when released in April of this year, winning widespread acclaim and launching a worldwide tour to support it. Now the album returns with two EPs of interpretations for a diverse selection of remixers most of whom are new to Perc Trax. This first EP of remixes takes in Head Front Panel's constantly building, pulsating version of deep album moment 'The Thought That Counts', Hodge's Bristol meets London meets Berlin stepping take on 'Chatter' and a screwfaced broken version of album opener 'Exit' by rising Blackest Ever Black star Pessimist.

'On Line': a collaborative album in parts, focused on themes of repetition, poly-metrics, transformation and abstraction. Volume 1 features contributions from Livity Sound protégé, Simo Cell, Berceuse Heroique regular, Don't DJ, and Wisdom Teeth label head, K-LONE. All of the tracks were written specifically for the project and in tandem, and all are connected by a constant pulse and communal headspace. The record opens with Simo Cell's 'Symmetry': a slow crescendo of whirring pads, melodic percs and dotted rhythms, all underpinned by thick slabs of sub-bass that, with each heavy hit, seem to collapse the track's atmosphere down and in on itself. Next, Don't DJ follows with the oblique, discordant chug of 'Übergang Zur Metrotram'. As with all of Florian's works, the track pulses with an organic, animal quality that completely belies its mechanical origins. Again, the track's space is filled with drifting pads and clanging chimes - but this time the atmosphere is close, discordant and chokingly dense. Last up, K-LONE clears the air with 'Woniso'. The track grows slowly out of a series of beautiful harmonic counterpoints - morphing patterns that come and go in the mix to reveal their individual colours and contours.

Night Blind is Richard Fearless' second release on Drone's white label series. The title track coalesced in the early hours of the morning as diffuse, Turneresque lights glimmered across the Thames and the container was pounded by a storm. Unnerving and melancholic yet with a glimmer of light, this is Fearless at his best.

On the B side is Cancan. With Xavier's spiritual acid head, Kenichi Iwasa, on percussion duties, this is one for peak time body shaking.

Both tracks were recorded and mixed at the Metal Box by Chris Blakey and produced by Richard Fearless.

Reissue for Tomorrow's Modern Boxes the eight track second solo album by Thom Yorke
Tomorrow's Modern Boxes is the eight track second solo album by Thom Yorke. The album is a sketchy laptop creation. It plays like a journey on a night bus with an edgy atmosphere of unpredictability, mixing melancholy, urban soul with some lurching monotony. Yorke's alienated falsetto mumbles and whimpers over furtive dubsteppy beats that could be coming from the headphones of the passenger beside him.Tomorrow's Modern Boxes deepens on repeated listening, with Yorke locating moments of beauty and calm in the eye of his anxiety.

Printed with a metallic silver laminate and multi-tone black, the LP format of the album is pressed onto heavyweight 180g white vinyl completed with undersize 75mm centre labels, housed within heavy white board inner and outer sleeves. (Side B contains a locked groove.)

Spiritual/industrial cyberpunk techno tracks for the dystopian age. No pain, no gain. For all Bunker etc. heads. 300 hand-stamped copies - vinyl only!

* 2017 year marks TEN YEARS OF INTEGRAL RECORDS and looking back upon the label's incredible back catalogue, what a decade it has been for drum & bass music that we hold so close.

* Initially set up as a passion project and a platform for showcasing future talent, the label has been consistently releasing cutting edge drum and bass since 2007. The ethos of the label has always been about quality control and finding those special vibes that no question capture heart and soul. Honing their unique musical language, selections are carefully handpicked by head honchos Artificial Intelligence and more recently in collaboration with label manager Emma G that fit with the forward thinking, original spirit we know as Integral.

* Now 40-odd releases deep and renowned for breaking some of the most exciting artists on the roster today, the label also boasts signature classics from some of the scenes most prolific residents. Names include the likes of Lenzman, Lomax (one half of Loadstar), Alix Perez, Calibre, System, Zero T, Technicolour & Komatic (Technimatic), LSB, Steo, Dawn Wall, Mohican Sun, Phil Tangent, Satl and just recently, A.I. themselves.

* Celebrating the seminal journey thus far, a double album will mark this very special occasion. Part One will showcase a selection of the finest from over the years in a chronological journey of the label's sound (for digitial release.) A second curation will simultaneously launch across all formats of entirely new and most exclusive material to date, reinforcing Integral's place at the round table of bass.

* A perfect teaser for what's to follow, the Album Sampler will drop this November featuring two stunning tracks. First up, '1000 Souls' comes courtesty of A.I. - tones of the deep, lush and soulful set the sultriest of grooves. Beautifully moody keys entice, chill and soothe. On the flip, 'Defiance' from Mohican Sun follows suit. With a gritty percussive edge, haunting melodies and a desperately emotional vocal to boot, this music will draw you all into the most mesmerising of dancefloor spells.

* Mark November 24 as the official release of the TEN YEARS OF INTEGRAL Album Sampler across all formats. Bag your limited vinyl copy now.

So, after a little break we're back with a new release. This time we're joined by the multi-talented production powerhouse that is Swarm Intelligence (aka Simon Hayes). Landing heavy with four bruising techno cuts that each find their own unique way of taking your head off, EAR017 is a bumpy journey through darker club flavours. 'Flatlands' opens things up, reminiscent of the type of marching, granite-heavy Brum techno of old - this is minimal in construction but maximum in its impact. Move forward to 'Ground Up' where demonic, dissonant keys take the lead above a rattling midrange that sounds like a corrugated roof ready to fly off. Opting for cleaner, elastic drum patterns on 'Tingla', Hayes swaps tense for dense, with a LOUD take on steppy techno, that'll please fans of some of Blawan's earlier work. 'Skitz' starts out an a more dub tip with a wailing, paranoia inducing hook and snaking rhythms, eventually joined by more hard-hitting broken kicks, leading us comfortably into oblivion.

Having been endorsed by Andrew Weatherall on his June 2017 NTS radio show, the band were inspired to release this four-track vinyl EP on their own label Big Shanty Records.

A heady mix of influences colour The Spellbinder Project sound, with elements of jazz, post punk, psych and funk in the blend. These tracks were produced by Malcom Catto, head instigator of the Heliocentrics and collaborator with DJ Shadow, together with Mike Burnham, who has worked extensively with Little Barrie.

The core band of Sean Pereira Summers (guitar), Michael Levison (bass) and Michael Rathbone (drums) are joined live by Lascelle Gordon from Vibration Black Finger on percussion and Chris Williams from Led Bib on saxophone.

It is a distinct honour and privilege to welcome the legendary musicianWally BadaroutoDiskotopiawithThe Unnamed Trilogy Vol.1, a collection of recent solo work presented for the first time as a limited-edition 12" and select digital EP,marking the first vinyl release of his solo music since 1989.The release has already gained a great deal of excitement following its announcement on FACT magazine, The Vinyl Factory, Resident Advisor and other media in early August.

Wally Badarou is a visionary musician who over the years has forged a history that is immensely storied, diverse and creatively rich. He has not only released timeless solo material such as the incredible Echoes LP in 1984 (part of which reached a new generation of music fans when the track Mambo was sampled for Massive Attack's Daydreaming), but has also recorded on classic albums with luminaries such as Grace Jones, Sly & Robbie, Mick Jagger, Fela Kuti, Robert Palmer, Jimmy Cliff, Black Uhuru and Talking Heads to name just a few. Both co-founders of Diskotopia have been huge fans of Mr. Badarou's work since before the label's inception and are elated to present The Unnamed Trilogy Vol.1 to the world at large.

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.

Keeno's third full length album, 'All The Shimmering Things', is a gorgeous body of work that truly transcends the dancefloor, offering maturity and depth far beyond his years.

From the majestic flutterings of 'Light Cascading' to the breathtaking euphoria of 'Cosmic Creeper', the album elevates into a world of brilliantly constructed sonics, arrangements and melodies, seemlessly crafted with care and precision.

The journey is made complete by guest vocalists Becca Grey, Abbie Rosie and Katya, whose exquisite lyrics perfectly fuse the album's themes with notable sophistication. Such a finely balanced combination creates a collection that is guaranteed to charm loyal fans and new comers alike.

Keeno's debut album 'Life Cycle' turned drum & bass on its head with its fresh approach to compositon and instrumentation, receiving universal praise from fans and artists across drum & bass and beyond. This pinnacle moment was the start of a continuous rise for Keeno, leading him to take his music from UK festival stages to club shows in Australia and New Zealand.

'All The Shimmering Things' expands and improves on everything that we love about Keeno's music and is sure to be one of the finest drum & bass albums in 2017.

Tr One return with 4 very different tracks recorded in one take at their studio in the Irish southeast. 'A Month Has Passed' uses a dubbed out aesthetic merging influences from UK bass and Detroit using shimmering melodic progression. 'The Boutique Of Never Ending Dreams' works towards a synth laden dreamlike peak. 'The Printer' duly merges playful Chicago drums with an organic chord structure to create a head nodding funk. Finishing the EP is 'Road To The Sea', a pensive sway of dubby sonics masked in a fog of reverb.

Tr One are an established name in the Irish electronic music community and are known for their energetic and engaging performances as DJs. They have received critical acclaim for the raw soulful productions from their studio in hometown Carlow, Ireland. They have gained respect for their ability to deftly move between the lines of genres with a strong sense of adventure and connection with Detroit/Chicago/Dublin machine soul. From this they have released music on Lunar Disko, Apartment and Fine Art recordings, with the strains of the US Midwest never far from sonic influence. They have worked in a range of styles from old movie soundtrack disco with New Jackson to punishing techno sharing wax space with the Phantom Planet Outlaws.

We hope you like this Ep as much as we do, ReSolute Label
Resolute Label's tenth release, The Nest EP , features the head honcho himself, Elon. Written and produced entirely in Nest's Brooklyn based studio, this EP is a collaborative project that showcases vintage gear such as the TR-808, 909, Prophet 6, TB-303 and SH-101 to name a few. The EP kicks off with the title track, a stripped back number featuring arpeggiated synths, warm pads and 303 stabs, co-produced by Bulgarian live maestro, KiNK, an industry vet who needs no introduction. On A2, Elon teams up with the machine obsessed Italian, mass_prod, for
Fractious , a techno number with swirling synths and reverberated vocal stabs that echo throughout. On the flipside, Elon collaborates with techno don Alexi Delano aka ADNY to produce Flirtface , a groovy 303 bassline track with resonant synth licks that keeps the mood rolling. The B2 vinyl exclusive track, Meander , features a second collaboration with KiNK.
Offered as a digital exclusive and co-produced by David Scuba, Last Call features a modulated bassline and intricate drum programming that effortlessly rolls along.

Bursting through the vapour trails of previous Solar Phenomena pilot Antonio Ruscito, London's Roberto is invited to the take the controls of the forward-thrusting new label's third adventure.

With turbine pads raising hairs at 20 paces, opening track 'Into The Blue' is an alluring statement. Adorned with breathing atmospherics and stately kicks, it builds perfectly on Roberto's previous work both on his own highly respected label Fossil Archives and other eminent imprints such as Emmanuel's Arts and Dehnert's Fachwerk as a fusion of contrasts and shades.

'DX Waves' takes us up a gear as it heads nose-first into a techno vortex. Relentless, driving and hypnotic, there's a pneumatic funk to the drums while the riff ripples and stimulates with a warmth and fluidity that instantly recalls the legacy of Motor City while remaining plotted to a path of its own.

This sense of unbridled drive and energy continues on Roberto's final original of the EP: 'Chord Recall'. Here the drums take more of a central position on the stage as the warped, melting tones and textures wrap themselves around the punctuated kicks and occasional deep-splash cymbals. Laced with a deep sense of space and a bewildering sensation of an unknown destination, it s another innovative voyage for Solar Phenomena that's brought home with an exciting revision conclusion from the one and only Peverelist.

A Bristol beat explorer who needs no introduction, Peverelist's take on 'Chord Recall' takes off where his recent album 'Tessellations' left us at the start of the summer. With his loose broken drum signature, Peverelist provides space for Roberto's original textured elements to take place at the centre of the stage and roam and evolve freely and hypnotically. A fitting end to another exceptional and innovative exploration, both Roberto's originals and Peverelist's remix set us up eagerly for the next Solar Phenomena chapter

This November will see Elia Perrone launch his new Jun'Ai imprint with his very own 'Flowers' EP, accompanied by a remix from Romanian minimal powerhouse Vid.

Tuscan producer and DJ Elia Perrone has long been one of the most respected figures in Italy's underground electronic music scene having co-founded the Klang Club in Arezzo which has seen him play alongside the likes of Simoncino, Juju & Jordash and Move D. Amongst this Elia, alongside brother and production partner heads up Unclear Records which plays host to their collaborative works as Easy To Remember as well as material from the likes of Baby Ford, Roman Fluegel, Christopher Rau and Dandy Jack amongst others.

Here though we see Elia turning a new chapter with the launch of his Jun'Ai imprint and taking the lead on the inaugural release is 'Flowers', a mind-altering slice of micro house fueled by pops, whirrs, clicks and sample cuts while fluttering atmospherics and bright string plucks ebb and flow throughout the murky depths of the composition. Vid aka Egal 3 steps up on remix duties to follow, delivering a straight edged take on things via crunchy organic percussion, billowing echoes of the original's atmospherics and a robust sub driven bass line.

Opening the flip side is 'Rain Smell', a slow brooding, hypnotic number employing dynamic string licks, modulating synth drones and bumpy 4/4 drums before 'Moshishi' closes out the package with airy ethereal textures, glitched out off-kilter percussion and rumbling low end tones.

Hardcore Monkeys offers the third volume of this great familly sound and internet forum. A-Class historical thing with a thema, this time, about Hardcore. Long awaited one i must say^^. And an excellent combination of talent : newskool and oldschool (yes TSX, now you are oldschool ^^ not the music bro... hopefully).

Idle Hands continues its quest to support new talent coming out of Bristol with a fresh 12" from local beatsmith Crump. Up to this point, he's been quietly slipping out razor sharp reduced house cuts on various artist releases for Extended Play and Banoffee Pies, but it's high time he had a 12" of his to truly showcase his sound.

The two tracks on this single tap into a consistent thread on Idle, fusing the minimal sensibilities of contemporary European house music with a swung, dub-weighted presence fit for soundsystem consumption in the fair city we call home. Much like previous releases from Leif, Christian Jay and Matt Karmil, this is a demonstration of stripped down music loaded with swagger.

"Ice & Spheres" pivots around an ear-snagging 2-step shuffle that cuts through any mix, but there's scores of subtlety woven in between the drums to reward the attentive listener. Snatches of vocal, distant field recordings, low-blowing synth licks and other unidentifiable sonic matter lurk quietly in the mix to cast a spell on the sleep-deprived twitcher and warm-up head-nodder alike.

Sporting a brighter disposition thanks to the sheen of its chords, "Mechanisms" provides a different vibe on the flip. The beat throws down with a rugged nod to West London broken styles while still tapping into that aforementioned continental 4/4 sensibility, injecting a refreshing variation into the densely populated minimal house landscape while maintaining the meditative qualities that keep the genre close to our hearts.

The Remixs:
Pointsman - we dont know who he is but he provide a deep big room monster.
Tripmastaz - Probably the only funky Russian you will ever meet. The only Russian artist with releases on Cocoon, Minus, Desolat, Cadenza. The only Russian artist with 4 vinyl labels. Hes funky housey remix is the most faithful of the four.
bpmf - Schmer label head provides a grimey and noisey big bottom Soviet style jam.
Steve Stoll - NYC Acid legend made a hard banging acid tracer.

In 1996 Serotonin label heads Selway and Szostek went to Moscow to perform at the invitation of Magazine. Synapse performed at the Waterclub' and met the legendary DJ Compass Vrubell. They went to his studio' where he had perfected the art of making entire tracks out patterns on the Yamaha DX-5. Szostek brought a DAT of these jams back to NYC and Schmer-003 DJ RX-5 A Taste for Crap' was released as a small run white label in 97. The run sold out and disappeared to be forgotten forever...

Until 2016 Szostek casually mentions its existence to Techno Uber-Nerd Nina Kraviz who just had to have it for her Fabric 91' CD. So DJ RX-5 was back from the ash heap of history and Schmer got a NEW release from him on Schmer07.

Then Schmer got the word out far and wide that they'd like a remix EP for two of the originals: Compass provided stems because like a miracle he still had the patterns after 20 years. Heeding the call were Pointsman, Tripmastaz, Steve Stoll and Schmer's own BPMF. So this is what you get: A Taste for Remix'. It will leave your lips wanting more, for sure!

Calypso's next EP comes from one of the label's owners, Thomass Jackson. Delivering 3 tracks full of psycodelic guitars, analog synths, soothing percussions and with Italians "Boot & Tax" on remix duties, this Ep covers a broad range of sounds and styles. The journey begins with the westernesque "Head Rejection" sumerging us in a hallucinatory desert full of weird snakes and scorpions. Up next is "Witzelsutch"(a leftfield secret weapon for some djs already) with sublow basses and sharp synths doing all the work. "Creepy PC" is a slow chugger with a trance-inducing vibe aimed to make you close your eyes and let go. Last but not least, Italian super duo "Boot & Tax" delivers a somewhat more straight foward version of "Head Rejection" where a sonic synth makes you forget you are in the desert.

* Walton drops his third instalment on Tectonic in fine style, calling upon Japanese influences to create a truly unique sonic across both tracks in the release. Asian instrumentation meets directly head to head with the cutting edge sounds of a UK grime-techno axis to great effect.

* 'Praying Mantis' captures all the charm of a fine Japanese watercolour painting by means of some spectacular midi-harp programming. Hi-hats and detailed percussion set a shuffling pace, building the mood up before a beautiful harp section unfolds and takes over, expertly programmed by Walton to sound as if a master harpist had stepped into the room! As drums and bass join the party we have all the makings of a low-slung grimey masterpiece, both soothing and energising in a perfect zen balance.

* Flip then for 'Koto Riddim' which again brings Japanese influences to the forefront of the track. Walton programs classic sounding Japanese percussion sounds along with grunting vocal cuts and a charming flute-based melody. As the track drops, it switches into a more familiar, grime-based palette of sounds, deftly arranged for most dangerous impact.

Label head honchos Sleep D are back with another production out of The Jackal Studios, located in Melbourne, Australia.

'Red Rock (IV Mix)' kicks off the release, a mid-tempo mover originally performed live at Inner Varnika 2017, re-imagined in the studio taking you back to the alien-like surrounds of rural Victorian landscape Bookaar.

'Bunyip Beat' reinforces the mood, forcing your mind to explore the flow of the odd-ball rhythm.
Flip it over and you have almost 8 minutes of hypnotic aural madness on 'Sandman', a real late night outdoor atmospheric finish on this diverse release.

"For WS021 we head to Italy where we find a duo by the name of Concret aka Italo-Mexican musician Diego Angelico Escobar and producer Q-pha. Together, they submit a couple of ethereal, stripped-back and driving techno tracks that compliment each other so well they appear to be brother and sister from the same session. On remix duty we've got another Italian, Rodion, who ads his signature sound to Ritorno and flips it into a laid-back dark groover. Last but not least is UK's Heretic, aka Timothy Clerkin, who remixes Andata into a classy acid burner fit for a massive warehouse party or dark, sweaty basement. "

* Cold Recordings is very proud to include Berlin based producer PHON.O as part of it's growing roster by means of this immaculate EP. Across the 3 tracks, PHON.O demonstrates his ability to combine UK- bass influences with techno sensibilities, ultimately crafting cutting edge music for the dancefloor.

* 'CLU5T3R' opens the EP with a swinging 132bpm rhythm that sits somewhere in between classic UK-Funky and a cracking Shed/Heads High techno anthem. The repeating riff that circles and cycles, sweeps through the frequency spectrum, energising and purposeful. Versatile and effective, this is a track to come back to time and time again.

* Flip the plate and there's another couple of gems. 'V3R5U5' continues on from where 'CLU5T3R' left off, progressing the mood into a more ethereal space, building layers of pads and texture as the track developes, rising and ramping up, before pulling back and dropping into a rolling rhythm. Closing up the EP is 'H4NDCUFF3D', which takes the mood into a more dramatic backdrop. Chilling pads swell up from the ground like mist in a graveyard, while the broken rhythm sets pace, creating a moody ambiance for those moments when you want to take a dancefloor into mystical, other-worldly territories. Dramatic and energising!

For the 9th instalment in DBA's Dubs series Ikonika and Big Strick square off head to head, following the Hyperdub artist's genre-defying Distractions LP earlier this year. Oral Suspension is an instrumental which switches rough-shod between a UK halfstep crunch and a Hoop Dreams era Chicago bounce. On the flip Big Strick brings his characteristic smooth groove to the table for the remix, which, though laidback, is nevertheless bound to energise the dancers.

Evading the ubiquitous pigeonholes, Ikonika has variously been known for her dubstep innovations, her uk funky experiments on Hum and Buzz and her post-urban sketches for Hyperdub. Meanwhile though an interest in techno and specifically the sounds of the Midwest have underpinned her work.

he Copenhagen based pop wonders Blaue Blume return with a new EP - 'Sobs'. The band formed around 6 years ago in a provincial Danish town, drawn to each other's love for rich, playful music. Blaue Blume (blue flower) is the epitome of a romantic band, their songs are brimming with love and yearning. Now 'Sobs', the follow up to their 'Syzygy' album in 2015, continues to build their reputation as a best kept secret, about to find a whole new audience of devotees. All four tracks for the EP were recorded in late 2016 in a three story villa, formerly owned by a religious cult. The band used the weird space away from the city to create a framework for the lyrics and the music. The band explains: 'Blaue Blume has been our band for about 6 years. In a bigger provincial town we started playing right out of highschool. At the moment we live in Copenhagen and every day we play, write and work on sounds. It's sort of become a life project. In our heads we make music that is playful, rich in detail and popish or somewhat smiling. For some beautifully inexplicable reason we ended up doing music together. In a way it seems sacred or at least meaningful. Macabre is a happy song about being afraid of dying. Some of us find that even the best life can be lonely sometimes. We found it interesting to address this taboo within the frame of a song that people could potentially dance or sing along to.

4 pumped up jams for djs to take control - don't hold back, just let go and feel the n·r·gee. Early support by Eduardo De La Calle, Jennifer Cardini, Andrew Claristidge, Gilb'r, Daniel Kyo, Photonz, Angel Molina... Points of interests - Only for the headstrong tripping on strictly undeground massive hits. - For fans of techno, warehouse, (old school) breaks and bleeps. - Pure reel-2-real analog recording and extra loud mastering by F.Stader at MMM. - Features 6 eternal loops and bonus samples for extended dj pleasure. - 121th release from renowned Swiss Mental Groove Records est. 1989 (Dj Rush, Eduardo De La Calle, Sun Araw, Miss Kittin, Luciano, Brodinski, Donato Dozzy,...), also home of Musique Pour La Danse (Olivier Abbeloos, Frankie Bones, Orlando Voorn, Nate Krafft, Dirk De Saever, Todd Sines...) and We Release Whatever The Fuck We Want (Midori Takada, Michel Legrand, Kenji Kawai, John Carpenter...).

Rick Lenoir and Larry Thompson aka Black Traxx dropped several volumes of their own brand of chopped up Disco sampling, deeper side of House. From 1991 through to 1994 the Black Traxx EP's were showing up in record stores, obviously giving respectful nods to other Chicago DJ's and producers the tracks included on the EP's contained a DIY spirit and rawness that were key ingredients. Lenoir, with the technical assistance of Gary 'Jackmaster' Wallace has revisited these classic releases for 2017 and the pair have turned in some special, exclusive extended versions of some of the highlights from the series.

Kicking off the first Black Traxx sampler is 'Climaxx', a stripped back, slow burning acid cut with more than a similarity to 'French Kiss' complete with ultra slowed down section in the middle. Far from a copycat, 'Climaxx' is it's own beast, a truly atmospheric track that tweaks in all the right places! 'Doctor's Housecall' is up next, a cut-up of Disco burner 'Doctor Love', a Chicago staple for sure. This is a brand new extended version of this jam, serious heat on this one, you all know the sample by now! Undoubtedly a nod to the legendary Ron Hardy and his mythical Muzic Box club, this one hits the spot.

On side-B we get a new version of 'Your Mind Is So Crazy' lifted off Volume III, this one's a pumping, breakbeat laced party starter. Vocal samples, synths and swinging drums all collide to form a real peak-time monster of a track, pure 90's style runnings! 'Retrospace' is the last track on sampler 1, it's a melding of Chicago House, breakbeat and bleeps. If you dig the sounds that emanated from Sheffield way back when, or the you're into the early hardcore sound pre-Jungle then this is the cut for you. Fast paced and funky, 'Retrospace' is a real hidden gem of a track, featured here in it's original form lifted from volume II.

This reissue has been realised with the full involvement of Rick Lenoir and Gary Wallace and is 100% legit! All exclusive extended edits have been made by Rick and Gary specifically for this release. Don't snooze, this one deserves a spot in any self respecting House heads record bag or DJ set, classic material made available again for 2017 - You can't stop it!

"On Suicide's First Rehearsal Tapes, recorded in 1975, Alan Vega and Martin Rev create minimalist aural structures, traces of which would surface on their eponymous debut album, released on the Red Star label in late 1977.

These songs are not a sketchpad of semi-formed ideas. The First Rehearsal Tapes comprise an audio diary of two men out in the ether, measuring themselves as evolving individual artists and as a unit who would rely on inseparability to realize their unique and often confrontational mass in the decades to come. What the tapes also reveal is that Vega and Rev were compositionally ambitious, capable of melody and form, while resisting definition as they headed further into uncharted territory.

The First Rehearsal Tapes afford the listener a glimpse into the creative process of two groundbreaking, true art warriors with their swords and shields leaning against the practice room wall. To understand the absolute brilliance of Suicide's first album as well as their sonic adventures that followed, you have to start here with their earliest recordings."

- Henry Rollins (excerpt from the liner notes)

For the 108th installment in the ever expanding planet rhythm catalog, a various artists effort has been planned with some of the label's usuals and some exciting names we have had our eye on for a while now. For the A-side, ARTS label owner Emmanual brings his much appreciated E100 to vinyl. Previously released digitally through his own imprint, this cut has been sought after for a while now. Second up is Eindhoven native Albert Van Abbe. Albert has been making a lot of waves for a long time now and we're very glad to welcome him to the PRRUK family. More to Ignore 04 is a funked out piece of machine music that will definitely turn some heads. The B side is opening with Elyas' The Hangman. The mysteryman that gained some infamy through his releases on Modularz and Olympian delivers a cutting edge Techno work-out. Closing down this VA 12'' is Mendy. Returning to PRRUK for the 2nd time, Mendy has come up with ''Elevation'' which is a chordy techno theme for peak hours.

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.

Since making their debut on the imprint in 2013 with 'Blue Aconite', the Italian duo Hiver has since released two more EPs on Curle; 'Same Mistake Twice' in 2015 and 'Soundescence' last year. Since the release of the latter mentioned EP, Hiver have been busy behind the booth, performing in the UK, China, Germany, Holland and, of course, in Italy, where they still hold a residency at DUDE Club. Kicking off the EP is 'Elipse', a stunning four-minute track that nods to avant-garde artists such as Wolfgang Voigt's GAS alias or Brian Eno, as the pair gradually weaves several layers of shining, atmospheric tones before slowly fading into the background. Title-named track 'Air Castles' follows, with the tight selection of drums combined with the ebb and flow of soaring synths creating a melodic style of techno that has become synonymous with their name. Next is 'Aleutine', a song that similarly blends Hiver's characteristically ethereal, hazy synths alongside more vibrant analogue bleeps to great effect. These delicate synths are later given the chance to gleam as the track comes to a close.Closing this excellent four-track EP is deep-groover 'Leisure', seeing Hiver up the tempo through their clever use of percussive elements, sharp synths and headstrong drums.

An addendum horrificata to the fantastic LP, Haex-Hrll AKA DJ Overdose returns from the nether regions of space with a louder dancefloor cut of sleeper hit 'North Of Warren' accompanied by witchy and dread filled extras. Remixes are provided by label heads Antoni Maiovvi who takes Test Tube Babies from the 'Further From The Truth' LP into tripped out waters and Vercetti Technicolor, who reimagines 'North Of Warren' for blood-soaked 90s Hollywood vampires. Brand new master by Brassica! Art by Eric A. Lee.

Released by Butter Sessions and Noise In My Head who are also known for their offshoot Efficient Space (Sky Girl, etc) - All Exclusive Tracks! Scratching the surface of Australia's independent electronic massive, Butter Sessions and Noise In My Head finally compile the second volume of Domestic Documents. Featuring all exclusive tracks, Perth godfather Ewan Jansen joins new WA blood Phil Stroud and Senate, respectively making hectic percussion tracks and hell bent techno, as Newcastle transplant Roman Nails emerges with his squelching one take tape experiments. Meanwhile in Melbourne, Fia Fiell's ambient mind maze and Butter Sessions alumni Booshank target the cerebral cortex, Hotrod goes full turbo and live/DJ wingmen Miris and Norachi share the same side of their vinyl debuts (alongside the freakishly underrated Colours of Infinity - aka Kloke). Kangaroo Skull and Cale Sexton fly the flag for Temporal Cast, the latter on a calming club collab with Sleep D. - Liner notes from Ivan Smagghe and artwork from Misha Hollenbach (Perks and Mini) - Features many rarities reissued for the first time ever (Karen Marks' most wanted Australian cold wave single last sold for 290€ while Once traded for 170€) - All tracks officially licensed, sourcing original masters when available - Includes digital download

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.