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We're back from hibernation after releasing the third Roundup at the end of 2016 and we're starting off with a new signing. Milan based Parker Madicine joins Heist with some high tech funk with a serious nod to the 'D' and we've got Byron the Aquarius delivering a great jazzy remix. You'll be more likely to find Parker Madicine browsing through boxes of old jazz and soul records than you'll see him showcasing his social media skills. He's a real vinyl junky and moreover a hip hop fanatic and probably loves his synthesizers more than his mother. Apart from promoting funk and soul oriented parties in Milan, he founded CT-HI records, short for 'Contemporary Theories of Hip Hop Influences". A few years back he teamed up a.o. with his buddies Veez-O and Turbojazz to create some Dilla and early 90's inspired hip hop and these influences are clearly present in his EP for Heist. With Heartbreaker, he lays down a dreamy but heavy groove for the first minute or so, arpeggiating its way to the moment where the airy pads make room for a looser than loose groove where synth stabs and bass line dance around each other creating a killer vibe. Zawinul starts in the same manner, rough kick, loose and degraded hi-hats and dreamy Rhodes chords. The tracks build further with some lovely brassy hits and arps, whereas Placebo is the most stripped back but high tempo track, where an airy and delayed bassline does most of the work to set the mood. We're really happy to have Byron the Aquarius reworking one of PM's tracks.

French producer Moresounds makes a welcome return to Cosmic Bridge five years after his debut. The Paris-based dub scientist was one of the first artist Om Unit picked for the label and the co-sign helped launch his career, which has since included contributions to Astrophonica, Doc Scott's 31 Records, and remixes for Machinedrum as well as a growing touring schedule that saw him take his unique live show to Asia and America in 2016. Mutation Experts catches Moresounds in a more experimental vibe with four cuts that play with the rhythmic potentials of jungle in a different style. Ting N Tings sets the mood with rolling breaks in a sea of soothing pads, subtle loops, vocal samples, and recurring sound effects anchored by deep bass to create a subtle, implied tension. Mutation Experts makes use of a catchy melody to take the listener along and once again the mood is one of subtle changes and blissful exploration, a junglist daydream. Ruff Times is the darker of the tracks on offer, a creeping roller wrapped around a two-note melody and drenched in dub, a hypnotic descent down a rabbit hole. The EP closes with Positive Yourself a mellow, downtempo production that plays with African motifs and samples for a gentle return to reality. Mutation Experts offers a perfect example of how Moresounds combines the rhythmic appeal of jungle with the transformative potential of dub, sidestepping obvious signifiers to play with possibilities. Mutation Experts invites you to take a different trip with Moresounds as your guide

Orbis X is a sublabel of Orbis Records and will be mainly focusing on softer yet often usable as DJ material for the broader mass interested in Electronic music. This sublabel is an extension of Orbis Records softer, more melodical and experimental side. Music will be ranging from house, dub, chicago over melodic acid and even breaks. Not any track makes it to this sublabel if it can't stand on its own and stand the test of time!

Aleksander Zekovski might not ring a bell but it should ring a bell within a few months.
We warmly welcome Moda on OrbisX with his very special and pure analog feel to sound.
Unique, funky, very good arrangements and multi-talented. Nothing more, nothing less.
Someone who deserves to be discovered or at least get a bigger audience.

We re taking the leap of faith with Moda, serving him a full EP to experiment.
The Roots EP was born.
The full EP is a mixture of funky beats with some housy touches with, in some phases, gentle and experimental dirty glitches.
Something to add to your collection. This EP can be played in quirky eclectic DJ sets, lounge bars or just at home with a nice glass of red wine.
Background music while having dinner with friends and you want to serve something special This is one of those special EP s!


Something To Talk About is funky, dreamy and sparks that twitchy leg movement when you doubt if you should be dancing or be slightly head banging to that tune.
That kinda track. Serves well with candles, wine and late night talks.

Under Her Skin might take off on a weird bit quirky dirty start, but when that lead kicks in, ... we were sold.
Extremely funky. Be aware: you can t hold yourself from clapping to this song.

On the B-side, "Winter Tale" counts as the second A track on the EP. Deep! Gentle and yet so snappy in it's own dirty way.
We fell in love from the first note, or should we say that filthy deep baseline, those dirty well mixed-in toms and snappy rude claps!

"Running Man". Well... if you like dreamy catchy house. This is for you.
A nice extra track, making this EP a brilliant pressing.

We can't emphasize the talent Alexander has.
We hope he gets more attention with this EP.
Full support for you Alex.

- mau

Danilo Braca (danyb) arrived in Brooklyn from his native Rome in 2012. Playing around town, running sound at local venues and slowly allowing these edits--informed by many years working the floors across Europe--to evolve on and off the dancefloors of New York City. Check his web radio TSoNYC - The Sound of New York City.
Busted Vol. 1 kicks off with something very special - a lovingly reworked, top secret, late 70's jam favoured recently by none other than DJ demi-god Harvey
Anyone who's heard him play in the last couple of years will be familiar with the original version of this truly magical 13 minute slo-mo Disco jam - it's a genuine holy grail moment !
Having established that quality is of the upmost importance, Busted continues with a beautiful duo of amended cuts on the flip. The uptempo, playful 'Play Me Hard' works the groove, hard !
while 'Have A Cake' is a gloriously sleazy mid-tempo workout
One hell of a 12" ladies & gentlemen !

Shelter is one Alan Briand, a young Parisian producer with a strong melodic centre producing a sound that pulls on the Zouk, the Afro, the Balearic and the Ambient palette. Zon Zon Zon is only his fifth release and his first mini album, following the series on International Feel that has brought us material from Len Leise, Wolf Muller and CFCF.

International Feel first met Shelter on a trip to Paris a few years back. It sounds like a story from a Nick Hornby novel, but there's a record shop in Paris called L'International Records, run by a guy called Dave who has a group of young French DJs, producers and promoters that visit the store, hang out and buy and listen to music - a story no doubt currently being repeated throughout the world as new generations immerse themselves in the culture. Shelter is a producer who has sucked up all that he has been hearing around him for a number of years and is now producing a quality sound, pulling on the exotic.

The seven tracks on this mini-album are taken from an extensive pool of Shelter's melodic magic. Some people lead on the beats, some on the production, but Alan focuses on the melody, with the beat closely tied in as support. Señor Zalla starts the album with an afro vibe, closely followed by the Zouk-style of Zon Zon Zon and Port-au-Cœur's mellow Balearic tones, as Shelter twists nature's sounds into his own sonic world. Bucolica, an upbeat wonder of a track, turns to the ambient mantra of Courant Rouge and it's distant cousin Courant Bleu, a classic rhythmic balearic piece with syncopated melody and delayed drums. La Volière (the French can make even bird cage sound beautiful) brings the album to a close with a smile in the mind's eye.


Zon Zon Zon is universal. It could easily have been created in Ibiza or Canada, Australia or Africa. It was in fact recorded at Paris 11, where Shelter forged beauty through the sounds of nature and uncovers a wisdom in its simplicity. We can expect good things from Alan. Here's the first chapter.

Cosmic Club 17's in the house, and for this one Skylax have delved deep into the mystic universe of the ultra prolific photonz with a four track EP quite simply out of this dimension ! Photonz is the artist name of Marco Rodrigues, a London-based DJ and producer who's been championing the new sound of Portuguese house and techno worldwide since the early 2000s. He has done tracks for various labels such as crème organization, unknown to the unknown, hot haus, the "cult" dissident and many more. His first cut "memories of burma" that gave the title to the ep is an infinite groove that builds and builds with arabic synths, a perfect crossover between balearic & old school jackin house. "Baronrevxp" & "agape" moves into the same territories with some sharp clap, hi hats and some big retro vintage sounds. While "stealth predator" catches him at his most experimental, upping the tempo and unleashing an ambitious techno juke roller, think about drexcya, 1990s techno, Plink Plonk and you're not even close ! Photonz music sounds extremely big for the big rooms, and still very large indeed for the smaller ones.His music is praised by The Chemical Brothers, Jackmaster, Optimo, Ivan Smagghe, Daniel Avery, James Holden, Ewan Pearson, Auntie Flo, Tim Sweeney, just to name a few. 'Memories of Burma' EP is not just a cosmic experience, but a voyage into the realms of a producer in a world of his own. Must have. Essential item. SKYLAX RECORDS 4 EVER !

After Leibniz focused on distorted grime and jungle influenced techno on his last records, he is now diving into deeper fields with his first EP for hundert. Over the time Leibniz has obsessively collected youtube videos that serve him as an audio sample library. Be it a review of a lawnmower or people singing to their pets, every track features bits and pieces of sound taken from these videos. By editing and cutting the original material the sounds get implemented into a new musical context.Pushing digital algorithms of music software to its limits and over the edge, Leibniz invokes digital artefacts that continue the motif of distortion.House and references to contemporary hip hop beats form the skeleton for four hazy out-of-the-ordinary cuts.

Sheffield's thatmanmonkz is quite the sonic force to be reckoned with. With an impressive discography across the board, dropping his most recent album "Columbusing" on Delusions of Grandeur in 2016 and running his own successful imprint "Shadeleaf", we're very happy to welcome him to Dirt Crew and present his latest EP "Shade Throw". Kicking things off rough and ready in true Detroit "Hight Tech Jazz" style, "Manna for Poppa" is a Saxed up dance floor bomb ready for the taking. "Intrinsic Divine", a sonically soaring breakbeat outing lightens the mood a little, think classic trip hop meets modern deep house. The cinematic string arrangement is accompanied by freestyle piano and licks of ad-libbed sax over a steady kit. "Space Jam 2017" sees thatmanmonkz team up with New York City's Clyde Phalanx to create a pure psyched up space house outing. We can picture this one over a sun-drenched Balearic scenery or deep in a dark and smokey basement somewhere. Jazzy freestyle drums underpin a live guitar improvisation that gets truly nasty on this interplanetary journey. Slow and sexy is the tempo for the closing track. "Evolver" is a soulful disco burner reminiscent of Idjut Boys, grooving along with smooth RnB vocals and salacious keys while intoxicating strings lift the energy to pure cosmic goodness.

'This is a journey into sound...,' These familiar words, accompanied by the rumble of a distant train, signal the opening of 'Let's Take A Trip', the sophomore album from Terrel Wallace aka Tall Black Guy. Since 2013's '8 Miles To Moenart' TBG has cemented his position as a standard bearer for the current hip-hop / beats scene. Born in Detroit and now residing in the UK, Wallace's signature style of incredibly clever sample flips and deft production chops has won fans across the globe including Gilles Peterson, Lefto, Jazzy Jeff and House Shoes.

Since his debut release in 2011 (a daring and addictive flip of Fela Kuti), TBG has become revered for his unique take on soulful hip-hop production. The swing of the drums, the textures of the instrumentation as well as a fearlessness in taking on the classics (his Soundcloud page includes flips and chops of tracks from James Brown, De La Soul and Michael Jackson) have marked him out from the crowd. One of the best-kept secrets in the scene, his singular talent is now beginning to get the recognition it deserves. In the last 12 months he has remixed Little Dragon and been invited to take part in Jazzy Jeff's Playlist Retreat alongside the likes of Eric Lau, James Poyser, Ali Shaheed Muhammed, Questlove and countless others.

For this album Wallace had a simple inspiration: 'This album is all about taking a journey. As simple as that. Be it physical, emotional or spiritual. It's asking and answering personal questions from myself within some of the tracks and also touching on social issues i.e. racism, inequality and privilege...that have been at the forefront of my mind over last three years.' Sonically there is also a shift: 'Jazz has definitely been more of an influence in this project, as I have been really inspired by so many up and coming musicians who I've been blessed to connect with'. Some of these musicians, including Kenny Keys, Miles Bonny, Diggs Duke and Dee Jackson feature on the project as well as regular collaborators Ozay Moore and Mario Sweet and fellow Playlist alumni Daniel Crawford and Masego. But this is one man's vision, and for Tall Black Guy this trip is just the beginning...,.

Omar has a totally unique, individual style and sound still marks him out as a future thinking and utterly unrivaled artist, who has collaborated with so many legendary names that it would be foolish to deny his worldwide reputation - who would dare contradict the likes of Stevie Wonder, Erykah Badu, Carleen Anderson, Angie Stone, Common and fellow fans and followers like Maxwell and Jarrod Lawson

Following on from 2013's album The Man, 2016 sees his new long player further cement this undeniable reputation. Love In Beats is Omars' 8th studio album of his long, illustrious career and may just be the most eclectic & varied to date. Somewhat more electronic in it's conception and sound than it's predecessor, Love In Beats incorporates soul, Caribbean rhythms, an undercurrent of funk, with touches of zouk, a jazzy waltz, spoken word and also features collaborations with Us soul legend Leon Ware, Blue Note pianist Robert Glasper, grime MC Ty, Guadeloupe born singer Jean-Michele Rotin, and Uk soultress Natasha Watts, The Floacist and Mayra Andrade, the Cape Verdean born singer who lives and records in Paris.

Co produced by Scratch Professer, Omars Grammy winning brother,this collection should create excitement worldwide, the sounds are varied - but all have Omars' unique fingerprint on them, style and substance beautifully merged!

Touching down for the inaugural release on the newly formed label, North of 7 Sounds, is the mighty Rumbleton - a true heavyweight with over 2 decades immersed in sound system culture, running the Stand Firm Hi-Fi label and releasing music on Scientific Wax, Rupture LDN, Outsider, and Samurai Music to name but a few. A true master of his sound, we are extremely proud to have Rumbleton set the bar for future North of 7 excursions. A New Day' takes you on a journey filled with haunting pads, razor-sharp drum kit clashes, and infinite amounts of low-end. Bottomless swathes of atmospherics respire in and out of the mix, culminating in a breathtaking breakdown - crafted with utmost devotion to the Godfather of Soul himself. A truly honourable homage to jungle's roots in sample culture and breakbeat science.Conscience' on the flipside is weightiness refracted in minimalism. Rumbleton fully submerges your mental space in a cavernous, dubwise fog, while militant, scorched-earth drums power the tune forward. A warm, subterranean bassline churns endlessly beneath, all the elements occasionally exhaling and collapsing under their own weight, only to regenerate once again...

The reveries begin with a simple electrical hum - a starting signal for the appearance of a vibrant array of sound, shifting before us in seemingly random motion. Before we know it, all those pulsating melodies, razor-cut hifi-house beats and drunken robot jazz ensembles start forming into patterns, secretly & perfectly designed by one Art Alfie. A long time operator in Stockholm's small but insistent underground music scene, Oscar Wedrén broke through internationally in 2012 with the Karlovak project, founded with on-off studio and dj partner Rudolf Nordström, a.k.a. Mr. Tophat. The duo's inexplicably fresh takes on classic dance music tropes is as much a result of a brilliantly odd pairing of personalities as of a defined concept and a precise method in searching for the perfect house groove. While writing Reveries Of, released early spring 2017 through Studio Barnhus, Art Alfie freed himself of all conceptual footholds, delving instead deep into his archives of old and new memories and feels, working with improptu field recordings and emotionally-guided sampling processes. He came back with an intricate and personal debut album and he didn't lose his groove on the way.

Repress

After last years slick selection for the series from MCDE, Young Marco steps up with a great set of obscurities. Top Tip!
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Born Marco Sterk, he certainly doesn't come from a standard DJ background. A former skate rat who grew up loving American post-hardcore and '90s hip-hop as much as early Warp Records, he's been affiliated over the years with Amsterdam institutions such as Rush Hour, Red Light Records (where you'll find him most weekdays!) and, of course, Dekmantel itself. Still, there's no question that he's always followed his own path, even during the years that playing his favorite records meant that he was occasionally clearing dancefloors.

Things are different these days, of course, as Sterk now regularly plays around the globe and has been widely hailed not just for his DJ talents, but also for his digging prowess and uncanny ability to pluck jams out of genres, eras and geographies that even veteran DJs will often ignore.

Still, Marco's entry in the Selectors series isn't some soulless collection of 'Holy Grail' rarities. 'Where's the fun in that' he explains. 'Anybody with an internet connection can check what flavor-of-the-month records are in demand.'

Just like the first Selectors compilation, this is not a mix CD, but a collection of hand-picked, unmixed tracks that Sterk has personally chosen from his own vinyl archives. Moreover, Marco has put together a collection of tracks that represent not only how he plays music, but also how he makes music himself. The songs here are melodic, electronic and bound together by a refreshing sense of naiveté. Nothing sounds overly calculated; the tunes here span several decades and include dollar-bin records, avant-garde records, club records and yes, a few things that collector types have likely been looking to get their hands on. It's not meant to be a grand statement, as Marco would rather provide an honest snapshot of his musical tastes and share a few of his favorite tracks and artists in the proc

Jerome Meyer AKA Von D is a master craftsman, well-known for releasing dubstep and bass music since 2009. On an increasingly prolific trajectory since last year, recent 12's on Infernal Sounds, Trojan Audio and Scotch Bonnet have signaled his renewed focus on dubwise productions. We are proud to say that Von D's Khaliphonic debut sees him fully committing to reggae and dub - in his words, going back to my musical roots.'

Politricks' is a masterwork, cut from the same living rock as the classic Cuss Cuss riddim, a simply huge bass and drum workout that is truly one for the ages. Politricks is an anthem for now, a call to avoid the dead-end of politics-as-usual and a warning to beware of the lies politicians tell to keep themselves in power - full of promises but changing nothing. Von D says that working with Don Cotti was very natural,' and their easy relationship is audible - the tune fits the vocal like a glove, and Cotti's instantly-recognizable singjay style gives even more gravitas to an already heavy track. The dub version spools out Von D's signature saturated echoes even further, and opens up spectral chambers of reverb that shimmer and glow.

The B side Ygrec' is an equally massive tune, just as compelling if more meditative and mysterious, coming in both one drop and power-steppers mixes for maximum versatility and vibes. Both tunes and their versions feature an incredibly robust, warm, human sound - one that simply can't come from machines alone - live drums, bass, and kete drum among other instruments maintain the tradition of live musicians in dub - to say nothing of expert desk-based mixing and deployment of live analog effects the way the elders intended. Both tunes dial in at 140 making them perfect for roots and dubstep selectors alike.

Von D got his start as a drummer and engineer outside Paris, in the heady days of original jungle. Early releases on Disfigured Dubz, Hench, Boka, Black Acre and the seminal V Recordings, as well as his reggae-oriented Liquid Wicked project, cemented his reputation. Don Cotti is a prolific producer, DJ and MC with releases stretching back to 2006 on labels as varied as Bass Face, Studio Rockers, and Soul Jazz.

Mastered by Lewis at Stardelta. Art & design by Polygon Press.

It's a pleasure to introduce Tony Rainwater - undoubtedly the most productive and creative savage we've come across recently. See usually we don't do this, Lehult is a crew affair, but this guy left us no choice. Being a music enthusiast, DJ and dancer for a long time, Tony has only most recently picked up producing his own music, yet at a stunning rate: When we first asked him for a demo - three months after he started producing - he swiftly dropped us a set of twenty-five tracks, another set of fifty more soon followed. His productions are straight rough edged, no-prisoners-taken Jams, combining samples from the most far-flung corners of his eclectic music collection. His magical patchwork wild style is on full display on his debut "Rockberry Jam" EP for Lehult. The A-Side takes us through the lighter side of his repertoire with the title tracks slow building house groove, some dizzy medieval monk grooves on "To All The World" and seductive R&B on "Lay It On The Line". On the flip "Operalight" irresistible groove and "Black Dream Flowers" provide some darker moments, before "Alone" closes on a soft note. The Vinyl version includes an extra goodie after the runout's. Tony is now a fixed member of the crew already and we're proud to have him and his crazy energy on the team. This won't be the last you'll hear of him.

'Soak by James Hadfield, featuring Danny Linton, is one of the main reasons for the launch of Me Me Me and a record I love so much I have done my first rem ix for the label,' explains Man Power. Further remixes from Axel Boman and Bird Of Paradise cement a stellar third release on the burgeoning Me Me Me imprint.
Soak is a distinct and uncategorisable piece of electronic music, with a rich thread of emotion running through it so strongly, it remains within each remix, albeit distilled in different ways. Fellow North Eastern Englishman Bird Of Paradise (Correspondant / HAKT) turns in two differing atmospheric interpretations of the track (one appearing as a digital exclusive), while Studio Barnhus supremo Axel Boman brings his own inimitable style to his rework, and Man Power's delivers a dreamy and forlorn infusion on this magnetic record.
James Hadfield has been releasing music over the last ten years under several guises including Lizards and Elizabeth Collective, although remains an elusive figure in the bubbling underground house and Balearic scene. Soak sees him teaming up with Danny Linton , best known as post dubstep producer Funk Ethics.
Man Power's ear for the more captivating and experimental side of electronic music is being championing through Me Me Me, putting discerning dance floors to the test through its releases. 2017 contributions include Mike Simmonetti, Chida, Fort Romeau, Hammer, Rex The Dog, Daniel Maloso and many more .

Vlad Dinu opens Mihai Bravu's 1st release starting the audio journey with 'Deep in my house' , a track that occupies the entire A side, just like a proper tool should.
As the name of the track hints, we find ourselves submerged in deep territory : a tight and groovy bass line, laced with a steady percussion, sprinkled with some 16bit arcade reminiscent accents and soothing intermingled vocal cuts. The deep vibe is crafty perpetuated by several synths at play,
which together combine in such a way to add a wide atmospheric feel to the composition. Definitely 'Deep in my house' sounds and feels more like of a 90's tune, and while listening to it, one could easily find himself drift into the nostalgia of the good old days.
Side B goes even deeper with two tracks defined by the notion of 'head tracks' . 'Gun Zah' continues the storyline with twisty percussive rhythms and a groovy atmosphere, tailored into a bangin floor choon while 'Questions Answered' submerges the listener into layers of groovy basslines, swifty percs and milky synths, all put together into the form of a most 'alive' track.

Simbad (aka SMBD) is a stalwart of the underground music scene in UK and because of his vast arrays of releases it's very hard to put him into any box or music category. Since his 2007 album Supersonic Revelation & his worldwide acclaimed dancefloor hit Soul Fever, the London based frenchy has been constantly travelling the five continents entertaining delighted clubbers with his super energetic dj skills or producing and recording various artists from many different genres including deeper Dubstep don Mala (DMZ), UK Hip Hop star Roots Manuva, Cuban songstress Dayme Arocena, Detroit House producer Kai Alce, Berlin based deep Techno artist Fred P, Seun Kuti from Afrobeat's most famous family, Brazilian superstar artist/actor Seu Jorge and being production mentor for the king of cool, radio DJ Gilles Peterson (who made him one of the resident at his Worldwide Festivals). With the Moon Theory EP Simbad demonstrates his talent on some deep analog frequencies for the very solid & ever growing label that is Apron Records. As the music wizard puts it himself : 'im just trying to make some timeless shhhhh man, soul in all forms really, trying anyway ! And I guess that the best is yet to come.

Florian Meindl kick starts 2017 with a special four-track vinyl only release 'Colorful Cage'. Released on his own imprint FLASH Recordings, the title track is taken from his forthcoming album 'Time Illusion'.

There is an exclusive vinyl edit of Florian's previously released foreboding techno track 'Nix Charon' and completing the EP are two further unique tracks 'Controlled Pressure' and 'Wild Sequence 3'.

As a DJ, live performer, studio producer and sound designer, Florian has over the years established an impressive producing base for himself in his Berlin based Riverside Studio complex with an exciting hardware set up including Modular Systems, an analog mixing desk as well as classic machines like Roland 909.
In anticipation for the LP release in early April, Florian has prepared a unique live set featuring a Modular System, the KORG Minilogue, effect boxes and a 909 drum machine which were used in the creation of the album which he will be touring throughout 2017.

Brendon Moeller finds himself entangled in the Plan B matrix for his next release which includes remixes from Spider & Phil Moffa! Don't sleep on this!

Not Waving takes 2017 by the scruff with his Populist EP, consolidating the myriad stripes of his acclaimed Animals album in four extended peaktime hammers forged for darkrooms, basements and warehouses alike.
If last year's LP saw you thru from day-into-night, or vice-versa, this one is aimed squarely at the gurny hours of abandon in between, with ferocious acid lines and jabbing drums stripped down and strapped up to prompt reckless behaviour on the 'floor.
Containing his first material written in the wake of Animals, the Populist EP is Alessio Natalizia a.k.a. Not Waving's strongest dancefloor statement since the one-sided Get Serious (2015) bullet.
It finds him taking the opportunity to make straight-up bangers, rather than 'songs', which were thoroughly tried and tested over successive tours of the USA and ountless shows in Europe too in
the last 9 months.
Too Many Freaks is an anthem in waiting, harnessing a barely-hinged sense of chaos between its careening synth lead, acid squabble and velvet-clad kicks, before the dry-rutting jag and plaintive vox of Vibe Killer takes a dog-grip like This Heat meeting Tuning Circuits.
Top marks go to the check-your-stylus intro for Control Myself on the B-side, which holds its fizzy line into a fetid crevice of what sounds Russell Haswell ramping with Powell, whereas the
crooked clampjaw groove of Ur Lucky Ur Still Alive pivots around a sample a lone raver at Atonal, Berlin 'who had no idea how she got there and what she did the night before'. A ruddy good night
all-round, then
Not Waving co-owns the Ecstatic label alongside Sam Willis. Not Waving is widely regarded a connoisseur of Italian new wave and post-punk music - he compiled the Mutazione (Italian
Electronic & New Wave Underground 1980-1988) set for Strut - and has issued a series of acclaimed, sought-after, playfully anachronistic twists on that sound since 2013.

After a short break Unison Wax returns with a brand new four-track collection of music from the bossman himself, Diego Krause. The Berliner took a year off in 2016, concentrating on other projects and letting the label have a rest, but now he's back with a refined sound. Unison Wax embodies a more sophisticated aesthetic, with warm analogue hues and subtle textures to push things forward a little. After all, we couldn't come back from a break without progressing, huh!
First out of the blocks is 'Nihilate', which helps introduce this updated Unison Wax sound, crisp beats lock us into a groove in conjunction with a dainty selection of analogue effects and a funky little b-line. Diego carefully adds new elements as the track progresses, keeping you interested right until the end.
Next is the title track, 'Rituals', which kicks off with an insistent bassline and spellbinding percussion that keeps you gripped from the off. He throws in some claps to add energy and muted pads, which slowly rise to prominence, giving the track an emotive atmosphere which wraps itself around you. One for the eternal dreamers...
Flip the record over for side B and 'Dysfunction', which turns things grimy. Marauding beats and bass conspire to create a morose atmosphere. Diego's penchant for super sharp beats is present here again, and the energy builds slowly but surely. A new layer creeps in every few bars and sucks you right into the track's lair. Expertly done, and impossible to resist, this is darkside pressure at its best.
'Eudaimonia' rounds things off, with more deep grooves. Initially propelled by minimal percussion, the track really gets going when more beats are added. It maintains a laid back feeling and, while the drums are solid, the atmosphere is mostly quite soft with swirling pads keeping things light in the top end. When they fall away towards the end of the track we have a rather gnarly close to the composition, as the beats and bass take over.
And there it is, the welcome return of Unison Wax - smooth and refined for 2017...

Making his first appearance on Ferox Records back in 1993 - Affie Yusuf has been producing techno, acid, and house music for over two decades, gracing heavyweight labels such as Force Inc. Music Works, Superstition Records, 909 Perversions and Chemical.

Affie is regarded as one of the most influential UK acid pioneers throughout the 1990's, releasing under his own name, and as part of House of 909 and Traffik with Trevor Loveys.

In the 2000's Affie & Trevor launched their label Tragic Magic, and founded the Machines Don't Care collective, alongside Sinden, Toddla T, Fake Blood, Detboi, Hervé, and Drop The Lime

Affie is also produces with collaborator Mr. C of the Shamen, and is resident DJ at London's long running 'I Love Acid' clubnight.

Born in Southampton on the south coast of England in the early 1970's, Affie Yusuf has established himself as one of the most important and influential pioneers of UK acid, techno and house, with a career that spans three decades.

The 11th release on Cardinal comes from the label owner, Ilario Liburni himself. 4 originals, vinyl only as always! Enjoy

The mysterious Cecil Moses & The S.G.'s (Oliver Klomp - drums, Colin Higgins - guitar, Bob Heinemann - bass, and Marc Hager - keys) unite with deep funk pioneer Lucky Brown to interpret Lucky's original "Mesquite Suite," a collection of spiritual folk/jazz modal melodies fused with earthy and arcane rhythms composed in the summer of 2015 in an ashram in the Texas Hill Country.

The S.G.'s, who specialize in their own brand of great quartet instrumental soul ala Booker T. & The M.G.'s and The Meters, adapted quickly to Lucky's experimental, rudimentary, vernacular, and minimalist approach. One thing you will notice in these tunes is that the vast space created by the musicians and the composition is what allows the FEEL to filter through, and for Lucky Brown, FEEL is what it is all about.

This first single presents the themesong of their collection, a deep tribal shuffle, "Mesquite Beat," upon which Jason Cressey - trombone, and Thomas Deakin - sax, offer their own explorations. The flip is an upbeat and minimal pentatonic anthem entitled "Justice," featuring Lucky Brown himself on funk flute.

With this release, we are proud to introduce the first installment of the "Mesquite Suite" collection on Tramp's own special limited imprint: "Tramp Tapes," a suite of original, raw deep funk inspired as much by Mulatu Astatke as it is James Brown.

Ekambi Brillant was born in the village of Dibombari in Cameroon in 1948. In 1962 he attended school in Yaounde and learned his musical craft. In 1971 he heads off to the big city lights of Douala. Here he finds himself in a French TV, music competition hosted at "Le Domino" nightclub. It is here where he brushes shoulders with other Cameroonian music legends such Manu Dibango and Francis Bebey.

The music contest win gives him the break he needs and in 1972 and with the support of fellow troubadour JK Mandengue he finds himself with a record deal with Phonogram and his first hits in France.

Its in 1975 where we pick up this merry tale. Because it is in 1975 when things start to get a bit funky. Which is just how we like it here at Africa Seven. In partnership with French producer, guitarist and all around hero, Slim Pezin he creates the "Africa Oumba" album. He goes on in the two subsequent years to record the Soul Castle and Djambo's Djambo's albums also with Slim.

Our compilation focuses on the funkier end of Ekambi's music drawn mainly from the 1975 to 1978 period. Things open up with our theme tune "Africa Africa" (of course). It's tribal twisted psych funk is the perfect start to any album. We then move to "Aboki" possibly Ekambi's finest dance floor filler. Next it's the choppy disco strings and slap bass of "Nyambe" and the swirling African swing of "N'Kondo" and the pulsing chop-funk "Ekila".

The flip side starts off with "Soul Castle" an ordinary day tale for our hero. "Massoma" and its funk boogie get things bopping next up before "Machine Ma Bwindea" gives us some punchy brass and low slung funk grooves. "Mother Africa" shows us the songwriting power of Ekambi while also managing to have one of the funkiest flange basslines we have heard in a good while. Things close off with swing-time of "Lambo Lena".

Ekambi Brillant would go on to become one of the big name legends of Cameroonian music with nearly 20 albums to his name. He has contributed to the emergence of several Cameroonian artists such as Marthe Zambo, Valery Lobe, Aladji Toure and Africans. He now spends his time in Cameroon and Washington DC. Ekambi, we salute you sir.

Japan's Sauce81 follows up on his modern boogie/funk gem 'Natural Thing', with the equally infectious 'Dance Tonight'. It may sound like it's been hiding in a dusty crate of unheard records all these years, but it was actually recorded last year in Tokyo, all vocals, instruments and production handled by the man himself. Forthcoming on 7inch in Feb 2017. Includes Dub version on the B-Side. Put some weight on it!

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

Villalegre Recordings is back with his second release after an acclaimed debut ep, which is already found in some 'real deejays' " vinyl cases, namely Dj Garth, Stevie Kotey, Timm Sure, Richard Sen and Massimiliano Pagliara.Discómanos ep consists of 4 edits of unknown gems, masterly revisited by collectors and artists as big as Mike Burns, Rayko , the great Sagittarius and Christian Beetz aka Frwctrl. Once again, Jorge Moreira and Crew dig deep down into many underground scenes around the world, to come up with an ep you'll always want to have in your case.
Listen carefully to Jose Rico's mastering work! A unique sound, which brings back reminiscences of Tom Moulton, Larry Levan, Dany Krivit or the very own Ron Hardy's reel to reel edits. Exotic love (Frwctrl mix) The trip starts with a Christian Beetz opus, which edits and extends a wonderful and unknown antique Spanish disco-funk track, with chorus voices flying like eagles to drive the dance floor to a unique climax. Sweat and pleasure lead by a smashing funky guitar, synths which drive you from the beach to the darkest, most hedonist dance floor. For your Love (Rayko edit)
Rayko is an edit master; he has presented his productions on the biggest disco dance floors on the planet, and this work reconfirms him. 'For your Love' tastes like Paradise Garage and nights of freedom and love. An original track with first class drums and a bass guitar, that reaches straight to the heart. The message comes with violins, which create the perfect emotion to wrap up a disco music masterwork that later becomes house. I want your body (Mike Burns Edit)The original track is a treasure that's hard to get, edited by Mike Burns, one of the strongest artists in the European underground disco scene. Mike selects this cut with a killer bass line, crazy synth effects and organs to turn the original track into an extended cut, which not only shakes the dance floor, but also the cloakroom and toilets. Programa Sintético (Sagittarius 1983 Tribute Edit)Sagittarius edits in a sublime way a mysterious track, loaded with energy, synths and effects. A production work, which transforms the original track into a technoid cut with a frequency in tune with Ron Hardy's proto-techno edits and progressive European music.

Undefined 005 is made by the legendary S-Max. Labelhead (together with FYM) of the famous freaked and forward electronic musiclabel "Boogizm" started back in 2000. We are more than honored to present him on Undefined!

This EP will take you on a freakshow of yorkshire bleeps, wonky basslines and 4/4 approach on house/minimal/broken beats. The tracktitles are as ingenious as the tracks itself.

Dont sleep on this future classic!

S3A Records is delighted to welcome Sam Irl in the family. Samples, classy Rhodes solos for this great S3A REC Artist EP: Similarity on each side: One banger track, one hip hop interlude and one personal (or deep) track. Have a nice trip in the creativity of this mucial note blooded artist ! He is very close from the forward thinking electronic music producers from Vienna like Dorian Concept, The Clonious, Roman Rauch. He manages with a lot of class, minimalism and harmony to the samples he uses. As we love Jazz&Milk records, it was natural to propose to him to work with us on his first S3A REC Artist EP. Let us introducing Sam Irl!! We are so happy to present you this beautiful EP. One banger track, One hiphop interlude and One personal (or deep) track on each side. Have a nice trip!

Consummate Berlin dub science by the maestro.

Beautifully textured, shuffling Lagos funk, on home-made percussion… militant horns… and a walloping, filthy-stinking kick-drum like the bucking, hairy hind-most of the Devil himself.

The Dub is Warrior Charge, 2016.

What a record. Bim squared.

By his debut album "Alcatraz" in January 2015, ARAS label head André Galluzzi thrilled with a concept album inspired by occult sounds and psychedelic vocals. "Alcatraz" as a whole is a captivating piece of art, its the essence of a club night. Now after received a wave of icredible feedback from "Alcatraz", the bird returns to ARAS with a bunch of remixes of the hypnotic track "Mathilda". Time to welcome Mike Shannon and Jacek Sienkiewicz to the ARAS family. This remixes will be a blast at the club by its very deep and reduced, futuristic interpretations. Mike, as head A&R of Cynosure and formerly Revolver Canada Recordings over 10 years, has shown an uncanny ability to select and produce tracks which have become go-to fixtures in the sets of the industry's best DJs. Far from pursuing the next one hit wonder or sound of the season, his steadfast curatorial vision and passion for the music have earned him the trust of discerning music connoisseurs the world over. Alongside DeWalta, Mike impressed lately with his album "Residual" on Cynosure/ meander back in March 2016. Jacek Sienkiewicz lives in Warsaw and he is a key figure in Polish electronic music scene. He holds Recognition since 1999, one famous label based in Berlin. With one foot deep in classic Detroit and Chicago dance scene, and the other in modern jazz and classical music, Jacek's tracks for the past ten years always try to find a right balance between the avant-garde and dancefloor, between primal emotions and highly sophisticated sonic wizardry. His latest album "Hideland" has been released in August 2016 on Recognition.

Direct connection between Napoli & Roma for this one. We welcome our favorite taliban, LKSMN. We met him casually in a club in 2014 where he deliberately played all his 45rpm records at 33rpm and the audience had literally insulting him...! For us it was became a proper mate at first sight and first listen.

KKY Burgers & Techno, Rome, Italy.

'I take my guitar and strum and sing some tings and blow people's mind. But I ain't trying to do anybody's music. I'm doing what I feel' - Shadow

When it came out in 1984 the far-out album Sweet Sweet Dreams by Trinidad & Tobago's Shadow (aka Winston Bailey) was described as 'way ahead of its time'. Undeservedly it was panned by critics and, unable to reach markets, disappeared into the dusty record collections of a few music aficionados. Now, more than three decades later that cosmic dance-floor UFO is about to take off again, change all that and set the record straight. Remastered and cut by Frank Meritt at The Carvery the album is truly a masterpiece.

But who is this Shadow behind Sweet Sweet Dreams Shadow is a man of understated magnitude. A truly enigmatic artist, he first emerged in Trinidad and Tobago during the 1970s, becoming a part of the tapestry of Caribbean music and reinvigorating calypso at the time. Calypso, the indigenous folk music of Trinidad and Tobago, has roots in West African kaiso rhythms, French Creole influences, and the hardships endured by the African slaves brought to Trinbago, whose descendants still use it as a tool for satire, self-expression, and social commentary. Calypso has also given birth to several other music genres, including soca, with its uptempo beats and festival context. Shadow effortlessly moves between both.

Shadow came from a humble but musical family and started writing songs as a youth while tending cattle in the fields. To his family's initial chagrin he chose calypso over church music but his talent and drive were undeniable. In the early days of his career Shadow's style was cramped when working with some of the more conservative music arrangers who felt that calypso and soca should fit a mould. But after a while Shadow teamed up with more innovative arrangers, including Arthur 'Art'de Coteau, who followed their and Shadow's intuitions resulting in a long line of hits.

'The first time we met for me to arrange his music we had a heated argument on the arrangement for one of his songs, I was theoretically correct but Shadow was musically right. Shadow broke all the traditional musical rules and made his own and that made him a musical giant. He changed the face of Calypso music in 1974 with the release of "Bassman" a tune in which Bass and magnificent horn line took central stage changing Soca music for ever. What Shadow did with his music was to put calypso on the International Dance circuit, giving it a totally different groove. You could take his music and swing it in any direction, Disco, Pop, Calypso, you name it. His music was different from anything that existed before'. - Carl "Beaver" Henderson, one of Trinidad's veteran producers.

This inert creativeness culminated in Sweet Sweet Dreams which was arranged by Shadow and deals with burning and ever-relevant themes like love and the ups and downs of relationships. a surprising fact for someone mainly known for his satirical and political lyrics. It prompted his manager to wonder if Shadow had written the lyrics while in a state of 'tabanca' (a word used in Trinidad and Tobago to describe lovesickness).

Sweet Sweet Dreams was recorded at the legendary SHARC studios, located on a hill in Chaguaramas (near Port of Spain) and despite a fantastic sound and monster Soca-boogie tunes like 'Lets get it together', 'Lets Make it Up' and 'Way, Way Out' the album was a commercial flop, probably due to the fact that it didn't sound like anything else coming out of Trinidad & Tobago at the time: It fused a range of different rhythms and new sounds, primarily heavy synth riffs.

Shadow took the album's lack of success in his stride with usual aplomb:
'When I did Sweet Dreams I expect something could happen. But nothing big happen because I have no big market and no distribution and all this thing now. So I just cool myself and move on to another song. I wasn't doing just one song. I used to always have plenty songs at the one time. And be writing music'.

What Shadow didn't realise back then was that the proto-electronic cocktail he had mixed in 1984 would only find the recognition it deserved three decades later. Life has swung full circle: Sweet Sweet Dreams has come true and been elevated to holy grail status becoming one of the most sought-after Caribbean disco records in existence.

For this re-release we carried out extensive interviews with Shadow and the musicians and have included as bonuses exclusive photos from Shadow's personal collection and the dancefloor filler tune 'D'Hardest' was added as a bonus track.

Green Vinyl

Back in the days at the west-Saxon highlands there was a missile, which marked the starting point. When Credit 00 saw the legendary rocket rise on Tetris' final screen, it was the first time he became aware of electronic music at all. Since then it actually hasn't changed that much. He keeps pushing that buttons that belong to the impressive pool of music machines towered up next to his bed.

After moving to Dresden in 2000 to study fine arts, his passion for synthesizers and drum machines got nurtured through visits of Dresden's club-canalisation. He quickly made himself a name as a DJ, who is just doing his own thing and got popular for that reason. As a part of the Idealfun-crew he started hosting parties always in the twilight zone between legal and illegal. This led to Robo Dance', Dresden's only and (also for some other reasons) best Electro club night featuring guests like DMX Krew, Luke Eargoogle or Imatran Voima. The track Credit made with Randy Barracuda of Imatran Voima has probably been created some time after the show. Apparently, Randy was not in good shape anymore and so Lebensraum' unmistakably bears Credit's hallmarks.

For his own music he's inspired by cannibal movies, number theory and birds. Still, his music is not easy to pigeonhole. After all, he loves Synth Wave, Electro, Afro, Kraut, Kosmische, Disco, Italo, Miami Bass and other Proto stuff - a lot of machine music.

Moonshine Recordings continues to coordinate dub into all sorts of directions with its steady throughput of vinyl releases. This time around, it's the Spanish-based Bukkha to uplift all followers with two up-tempo rollers that take part in his crucial 'Ruling Sound' EP. His name has been all over the news inside bass culture lately, as the American released highly noted physical music on critical labels like Killa Sound and Dub-Stuy Records. He's been working his way to the top and the only thing the Moonshine Recordings imprint can do is support his efforts in pushing dub music to the masses at any given moment of the day.
On top of this wicked news, Portland's dub producer and engineer 'Skelli Skel' joins this session to frame the taste of the 'PDX Mandem' collective from back home. His love for complex rhythms and heavy bass lines fuel his adventure inside dub culture, something you'll hear when listening to 'MS028'. And with the familiar voice from don Junior Dread, who jumps in on the hype by illuminating the dub with carefully selected freedom of speech, it's the collaboration that speaks for itself. To top it all, TMSV is added to the release roster, a producer whose been dealing some serious damage with his inventive music repertoire. Whether it's music on the darker tip, or the more laidback sound, both Bukkha and TMSV know how to uplift and please their followers with bass-heavy, eardrums-teasing bass music.
Bukkha's 'Ruling Sound' leads his way through musicality by portraying the right balance of instruments and not to mention the gigantic bassline that disperses vibrantly through the lower bottom of the mix. The reigning vocal support from Junior Dread and dub techniques from PDX Mandem family Skelli Skell work out fantastically, as it makes this record come to life. Listen to the instrumental part that propagates in the exact sense of 'dub music', regardless of spinning on a higher beats per minute. The version 'Ruling Dub' by Bukkha himself plays a more meditative part inside your headspace; a clipping where basslines and effects will act up in a blurred version. It's the real attention to detail the American producer shares with remix boss TMSV, who hits fans with a darker joint that pays homage to Drum & Bass. It's aggressive stance forms the pinnacle of 'the right' B-side of a Moonshine Recordings plate. Just make sure you experience the second drop of this absolutely mammoth interpretation, as TMSV shuts down the place!

Just in time for ADE, we are more than happy to present a new release by one of our main protagonists since our renaissance. Lehar has made a fascinating career in only two years, he is a key member in our label family as well as Diynamic and plays gigs around the world. His "White Diary EP" is his most unique release so far, with two original tracks by him and two dub versions by UK house legend Charles Webster.
"The Cave" is a very touching track which again shows Lehar's love for deep but popish moments in his music. Again, he has teamed up with L.A. singer Rush Midnight, who already lent his voice to "Number One Hero", which was released earlier this year on the Diynamic sub-imprint 2Diy4. An instrumental version is also available in the digital package.
The title track "The White Diary" is a demanding and hypnotic builder, which was already played often by Solomun during the summer. This is a next level Lehar track, signature sound structure combined with a highly effective arrangement. A winner for many situations.
Charles Webster has been a favourite of the Connaisseur label heads Alex Flitsch and Martin Henkel for ages. Requesting a remix by him has been on the Connaisseur bucket list since day one. He gave "The Cave" two different dub treatments, one
better than the other. His "Dub the First" already takes the original one foor deeper, making it very timeless and hypnotic. His "Dub the Second" takes it even deeper and is adding a proper portion of trippiness. Music for the guardians of the real stuff!

THEM records welcomes back Hiroaki Iizuka for the its fifth outing. Having supplied the 'The Run' as the labels first record, here Iizuka doubles its play time and track listing length in his stunning Voodoo EP. The extra time offered allows Iizuka to flex more of his versatile style. THEM as a label sets out to eschew a Techno norm largely made up of a traditional 4 x 4 sound. Having come from a London background, the curating of the label gives a nod to the rave sounds of the Capital - especially D&B, Garage, Breakbeat Hardcore and Grime. That is to say of course along with its characteristic aesthetic of Horror and The Gothic.
In Iizuka THEM found a common ground: Based in Hokkaido, Japan, Iizuka does not share the same London influences, yet shares their base values and thrust. Common themes of his sound involve broken and syncopated beats, and a rave energy. This is what lead him to being the first and prime THEM stable artist. Voodoo EP showcases this breadth of Iizuka's style, from tracks that could easily fit into any Grime set, such as Primitive Acid, to the more melodic tones of Floating Point, in which Hiroaki guides THEM into previously untrodden ground for the imprint.

Following the recent reissue of Vox Populi!s Aither album, Emotional Rescue further explores the more discerning, esoteric sounds of the French 80s avant-garde scene in coute Visual artist, sound designer, musician, label founder and emotional tree consultant Ramuntcho Matta is a man of shifting, relentless talents. Diagnosed with autism at a young age. Therapy based on yoga and music set him on a path, leading to learn from the likes of composter Cuarteto Cedrn. Discovering avant-music at an early age, he moved to New York to study in the "Third Street School of Music", meeting John Cage and going on to work on projects with Laurie Anderson, Brion Gysin and Don Cherry. His architectural concepts applied to composition were explored on his 3 solo LPs from the 1980s. The middle of these, coute, is possibly his most cohesive, exploring the use of extra-European musicians, especially African and Brazilian percussion, jazz horn playing, as well as Uruguayan singer Elie Meideros. Mexicos Cacau de Queirozs performance on saxophone and flute is stunning, former Gipsy Kings member, Jorge Negrito Trasante attributes much of the LPs Brazilian percussive flavour, while Magmas bassist Jannick Top brings gravitas, including performing a water claps duet alongside Matta on the exquisite O Clapo. As one piece, coute endlessly avoids standard musical formulas, seeking textures of far-flung elements; alchemy against a background of freedom to experiment that would be the theme throughout Mattas career, whether setting up SSR records under the alias Michael Pope or in his more recent output, teaching methodology of doubt

Love Notes from Brooklyn offers up this platter from a very exciting new Brooklyn artist, Subtenant. As it says on the tin, The Artisanal Acid EP is heavy on the 303 squelches and emotional content. Each track has a unique pairing of soul and heavy acid funk. Evergeen Soul is the clear lead track here, using a female snippet to keep this otherwise tough little number dancefloor friendly. This track is then reworked by Detroit underground darling, D'Marc Cantu, who pitches things up into funky rave territory. The flip side sees the title track feature the most soulful chords on the entire record, and then on the B2 the artist himself takes to the mic on Know How It Feels. This whole EP feels live and direct from the Brooklyn underground.

POP AMBIENT - our longest-running compilation series after Total - sees a new instalment for 2017, featuring exclusive material from acclaimed genre veterans and series newcomers JENS-UWE BEYER, YUI ONODERA & SCANNER, MAX WÜRDEN, LEANDRO FRESCO, THORE PFEIFFER, KENNETH JAMES GIBSON and SOULSAVERS remixed by WOLFGANG VOIGT.
Following his own cues from preceding entries, Pop Ambient chief curator Voigt again strikes a perfect ratio of established producers and debuting guests: our complete Pop Ambient solo album crew makes an appearance, from JENS-UWE BEYERs atmospheric soundscapes on the tracks FINAL 9.1 and FINAL 10, to THORE PFEIFFERs glitch romance GOOD LIFE, LEANDRO FRESCOs beatific drone fests SONIDO ESPAÑOL and EL ABISMO, as well as KENNETH JAMES GIBSONs melancholic epic HER FLOOD KNOCKED ME TO THE GROUND (BUT I WAS ALREADY THERE. Other returning artists include ANTON KUBIKOV of SCSI-9 fame (with electronic reverie DEKKA) and Cologne soundsmith MAX WÜRDEN, who was last seen releasing wonderfully immersive albums on BineMusic and Wolfgang Voigt's very own Exponate series. His guitar-infused, dubbed-out cut FERNFELD and the mysterious electronic mantra 186.000 MILES PER SECOND are particularly striking renditions of the rich sonic narratives possible in Pop Ambient.
For the 2017 release, we welcome Tokyo-based Pop Ambient novice YUI ONODERA with his tracks CROMO1 and CROMO2, which both serve as opener: a trained musician and architectural acoustic designer by trade, Onodera embeds diverse influences from traditional sound design, film scores, contemporary composition and electro-acoustic experimentation in his work, resulting in intricate drone sculptures and sound skylines. This skill set gels naturally with the sonic sensibilities of iconic experimental composer SCANNER who teams up with Onodera for the cut LOCUS SOLUS - it's an incredible honour to have such a towering figure in advanced electronic music on board. Wolfgang Voigt himself makes an appearance as remixer, turning the track HAL from electronic-rock-gospel duo SOULSAVERS' 2015 album "Kubrick" into a voluptuous and immersive sound journey. It's the cherry on top of a particularly fluffy cake that will prove irresistible to any connoisseur of ambient music.

We are truly excited about this releaseas we have been fans of VENDI's work for quite some time now. The reflection of great cities of Barcelona where he started experimenting with electronic music and Berlin where he is currenty residing is palpable. The passion for producing great music has been recognised by the heavyweights like Raresh and Jamie Jones to name but few. Here at Hoxton Records we are very proud to have him on our 4th release. This one is definitely going to be proudly hanged on the wall ( After being played a million times of course )

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

Double 180 gram, half-speed vinyl re-release of the orchestral epic. Norwegian Grammy-nominated and critically acclaimed masterpiece «The Mechanical Fair» finally gets it's long awaited vinyl release

Jampacked with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, critics called The Mechanical Fair «the best movie you'll never see» and drew comparisons to Igor Stravinsky's «The Rite of Spring» upon it's original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist hands doesn't settle for an iPad. It craves vinyl. His wholehearted endorsement led the captain of the Olsen Family to clear the rights, assemble his own killer remix and requisition Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic.

Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014.

Having just spearheaded seven genre-blending shows in just six days as the «Artist in Residence» of this years prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multiinstrumentalist, composer and producer Ola Kvernberg (35) can look back at an already impressive recording- and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today.

Don't miss out on this rollercoasting, genre-twisting magnum opus as it finally hits is true potential on the Olsen label on November 11 this fall.

Correspondant can finally reveal the release of the remixes for Man Power's debut LP, which was released last year on Correspondant.
A year in the making, the remix package features artists and friends hand-picked by both Jennifer Cardini and Man Power himself.
Disco Halal's Moscoman remixes the baggy splendour of Beilsteiner, creating a rolling and belching extended opus more focused toward the peak time dance floor.
Hivern Disc's JMII takes Hunting Swan and turns it inside out, exploring space with a cerebral, schizophrenic quality.
Alternatively, Pale Blue (Mike Simonetti) takes Boys Beware and re-imagines it as an aggressive drum workout.
Completing the package, Suade, the artist who also mastered the original album, replaces TEN's balearic leanings with an IDM sensibility, yet still retains the optimism of the original track.
All 4 remixes manage to exist as distinct works in their own right, while paying homage to the "magpie" approach of the original long player.

Next up to close out a hefty year of DJ-Kicks releases is one
Daniel Avery, bringing with him two exclusive new tracks and
a host of techno heavy goods. In his own words:
"To me, the most appealing thing about electronic music is that
it requires time and patience to fully enjoy. It's about becoming
lost in the repetition and the atmosphere. The warmth of the
kick drum.It's important to remember to take a breath in this world. The studio and the club can offer similar experiences in that regard but it never feel like it's running away from things. It's almost the opposite: it's in those moments where we stop that we can feel the most alive.We're constantly being told that modern generations have no attention span but it's simply not true. There is more out there to distract us but we have not changed as humans. Kids now want to go and listen to a DJ play for ten hours and become locked in their world. A mix CD, like an album, is designed to be listened to from beginning to end. It's something I still firmly believe in.

Original release from 1977 "Reissues of a legendary artist, pioneer of the French electronic music. "The French proto-electro is making a come-back as we've seen it with the success of both Cosmic Machine compilations. "Their 7 Onyx"sold over 3 million copies worldwide. "Space Art is behind the massive hits: Onyx", Give Me Love", Love In C Minor"and more "One of half of the band, Dominique Perrier, is one of legend Jean-Michel Jarre's closest collaborators. Recognized as a keyboard virtuoso, he worked on all Jarre's albums from Rendez-Vous"(1986)to Oxygène 7-1 (1997) and still tours with him around the world. Space Art also toured with him in China in the early '80s. "Alongside Jean-Michel Jarre and Cerrone they are one of the most influential bands that pioneered electro music.

Meet Thorsteinssøn. The Iceland-born-Denmark-bred Gunnar Thor Viggosson better known as one half of 76-79 with Tommy Vicari Jnr and bossman at Comfortable Records and Vanity. Right now, though, we're calling him the man behind the first Pets artist album this year... Deliciously cosmic and cheerily schizophrenic, 'Academy Of Heroes' is inspired by a brilliant creative project Thorsteinssøn practiced during his years living in Amsterdam: Solar Industry Radio. A project that would begin with a made up artist or band name in styles ranging from cosmic funk,scandinavien disco to noise collages of the galaxies. A joyously backwards project that inspired a rich rainbow of styles, the content was then represented 24/7 online, collaged with strange jingles and sifi snippets. Genius. Returning to those creations, Thorsteinssøn and Pets have weaved together a full album that cherry picks from his thunderous proliferation: from the strutting west coast deep house of '1976' to the introverted electro boogie of 'N M T F R' by way of the poignant chords of 'Untitled Disco Six', the wry acid wriggles of 'Channel DISQ' and the Trans Am twinkles of 'Beneath A Steel Sky', the 14 collection acts as an immersive, timeless collage. A smorgasbord of synthetic exploration, rich in sci-fi, space and robotic sympathy, pieced together with the same spirit of his cult radio transmissions, it works just as well on the cans as it does in the dance... And it's en route with an equally alluring package of remixes. An album, a radio show for freaks or simply a journey into Thorsteinssøns world.. Whatever... He really is a creative maverick. !

Amongst the first bunch of this new label releases, we couldn't miss a tribute to one of the greatest masters of libraries recordings, Alessandro Alessandroni, born in 1925. In his long career Alessandroni has published lots of soundtracks - and we mean lots of - and for this he's considered a real star of Italian music. As a friend, and close collaborator of Ennio Morricone, he's remembered as "the whistle man" for his fundamental contribution to the immortal scores of Sergio Leone's movies. His class allowed him to range between genres and atmospheres, from beat to avant-garde, from funky to abstract compositions, always reaching and keeping the highest quality. This is immediately clear in "Il Tempo Dello Spirito", originally published in 1971 for the meritorious Flirt label. It's an album full of sacred music, gospel and spiritual, yet capable of personal flashes that make it interesting, particular and unique. Simple church songs In some cases it may seems so - titles as Ave Maria, Gloria In Excelsis Deo, Pellegrinaggio or Messa Solenne do not leave much room for doubt and interpretations - but Alessandroni is able to astonish even in extreme cases like this.

Back in 2015 our bearded Dirtybird Player, Will Clarke, needed a secret weapon for some of his festival gigs for the Summer. He sampled the ghetto house legend, DJ Funk, who made an appearance on Dirtybird back in 2013 for the Kill Frenzy smash, 'Make That Booty Clap'. Will passed it on to the rest of the Dirtybird crew, and before we knew it the track took a life of it's own and quickly became one of the most requested tracks, even to this day. Will ended up linking with DJ Funk himself, and they turned what was a quick bootleg into a full blown collaboration.
Ladies & Gentlemen, 'Booty Percolatin'' is officially here.
For the flip side, we added Will's solo effort 'House Girl', a bumpin' ride with a contagious bassline and chanting vocals for all the 'House Boys' and 'House Girls'.

Back in stock !

Michael Mayer is one of the leading German tastemakers in dance music and his DJ sets have influenced a generation (or two) of musicians and fans.As an artist, Mayer remains tirelessly motivated to DJing, in the studio or behind his desk at KOMPAKT, the label he co-owns. His recording career spans four albums, 23 EP's, nearly 170 remixes and the legendary DJ mixes for fabric and Immer. '&' is his third full-length, a passionate and personal album that speaks as broadly as his DJ sets - embracing his genre-busting love for music, rhythm and atmosphere - and the dancefloor in front of him. '&' is the rare manifest of an established artist who is willing to risk it all and challenge himself, and the world around him. 12 tracks, 12 single narratives coming from a group of very individual minds orchestrated by Michael Mayer - the DJ, artist, A&R but most importantly, obsessed music lover. Michael describes the process of curating and creating '&' as a constant battle between his three alter egos but 'the obsessed music lover has had the final say.' As diverse as they are, all the tracks that result from this long and winding road create a cohesive story and present the elasticity of Mayer's musical galaxy. Michael gladly leaves it to the rest of the scene to discuss the different grey shapes of club culture. For him there is only one club culture - a playful and open-minded one that's easy to comprehend after you hear ‚&'.

finally repressed

Back in February 2013, shortly after their impressive first release as a label, Music Is Love launched a double VA entitled Lovebox: an 8 track double-vinyl release that included tracks from 8 talented up-and-coming producers on their roster. By innovatively previewing the producers in this way, the label laid the foundations for what listeners could expect for each artists' subsequent EPs. The artists who released on it were not hyped up flavours of the month, but rather emerging talents who sat perfectly with the label's musical ethos - quality and original underground house with a contemporary, dynamic feel. Since the VA, the label have gone from strength to strength and have firmly established themselves as one of the most brightest house labels around in the UK.

Just over a year later and following in the success of its predecessor, MIL return with their second VA and with that, a chance for listeners to hear the new additions they've acquired, in addition to some already known faces. Liam Geddes opens proceedings with Untitled. A deep sense of soul permeates the whole track as a rumbling baseline imbues the beat with an ever-present sense of groove that never lets the head stop nodding. Geddes has really fine tuned and matured his sound over the past year, and this track is further evidence of his quality as a producer. The subtle percussive rhythms, electronic bleeps and synth nuances give this track a natural flow, as Geddes conjures something altogether more hypnotic, dark and purposeful.
Mr.KS, one of the newcomers to the label, outlines his coolly crafted style with track (Music) Makes Me Stronger. Brittle drums and deep warped synths suck you in and out and shape the structure of the beat, while afflicted chord patterns combine with the hypnotic repetition of a vocal sample to give the track a gesture towards techno but with a flow that pulls in house elements. Cassio Kohl introducers himself with a warm, melodic house number; rumbling synths circulate in the background of the track while ticking hi-hats and snares play off against the sumptuous vocal sample, which builds and falls back nicely into its original path until electronic glitches sporadically ease in and move the beat forward.

Jamie Trench has been making some serious headway of late and his track I Want You with Rebel serves a timely reminder of a producer on top form. A heavy, rolling baseline resonates intently, building against murky vocal samples, shuffling snares and off-beat key stabs that grow in presence and intensity - a track that will no doubt prove a high point in any DJ set. Label boss Oli Furness has a raw knack for creating crisp, heavy sounds and Take Monday Off remains on a similar path, albeit the beauty lies in the subtlety of arrangements rather than bigger hitting sounds. Chopped shimmying keys tease, filter and build fluently with urgent hi-hats and swinging drums that flourish harmoniously together, while an understated baseline adds weight and rhythmic groove typically inherent in Furness' work.

Italian heavyweight Tuccillo has released on some of the most reputable labels on the circuit - releases for 20:20 Vision and Freerange is evidence enough of his provenance - and this time he brings his baleric house sound with the impeccable sounds of DubFlanged Gru. Shimmering percussion shakes meander against the bumping bassline while the endearing, muffled vocals that threaten to break out are superseded by breeze-block keys that filter and descend into a chattering groove. Dutch producer U Know The Drill brings things back into heavier house territory with a no-nonsense, stripped-back stomper, the type of track we've been used to hearing on Dutch affiliates New Jack City's material. Heavy snares kick with a punch, and the deep drone-like vocal swings against the wobbling baseline and tapestry of electronic bleeps. Other sampled vocals and glitches weave in with the juxtaposing elements playing off one another to huge effect, ensuring that sheer energy pervades the track.

Jackson Ryland rounds off the heavy 8 track VA - scattering hi-hats and swirling pads build, while the shuffling drums roll on until fleeting chord flourishes and a musky vocal hook bring the track into wistful nostalgia. The elements of track balance superbly and are propelled forward by the intricate drum arrangements and well-crafted hi-hat/vocal combo.
The difference in approach and outcome from each artist results in yet another highly impressive outcome, with 8 high grade tracks that show another side to Music Is Love. The sounds are tougher and the mood is darker, but the premise of the whole MIL concept remains more apparent than ever with this release: sourcing fresh underground talent, curating original electronic music and evolving artists already on the roster.

Here Come the Horns is the second studio album by the hip hop group Delinquent Habits. Formed in East Los Angeles in 1991, the group are known for their Latin-tinged rap, which is both melodic and hardcore. Their first self-titled album (MOVLP1338) was executive produced by Cypress Hill member Sen Dog and featured guest appearances by Sen himself as well as Puerto Rican New York City rapper Hurricane G.

The debut vinyl release of Detroit underground mainstay Sterling Toles features tracks produced between 1998 and 2006, recently unearthed by Sector 7-G Recordings. Sterling emerges from a scene of producers that prided themselves on sampling distressed vinyl and lo-fi analog production as a reflection of the mental and physical environment of the post-industrial city. Sterling carries that sonic dialect with him as he nomadically incorporates the language of other genres, variously exploring soul, ambient, Detroit techno, and folk sensibilities. From the ambient/folk impressions of "grace, i will now let go..." to "inga 135" sounding like 90's jazz-inspired hip-hop having a ghettotech dream, "Archival Arteries" is grounded in the sonic palette associated with Detroit's ethereal and minimalist boom bap hip-hop style. These tracks hold the imprints of Detroit's expansive musical institutions such as The Electrifying Mojo, The New Dance Show, and CBC radio's Brave New Waves. Created with just an Ensonic EPS sampler and a VS 1880, this EP captures the fluid musings of this indelible artist

RAWAX proudly welcomes Mr. Lamont Norwood aka Dj Di'jital to the family! A true pioneer from Detroit!

Truly an old school Techno Bass jewel, DJ Di'jital has been a key player in the development of what some call the "Second Generation" of Detroit Techno. Having released on classic Detroit labels like Metroplex, Direct Beat, and Twilight 76, there is plenty of good reason why his name and his work have become so legendary over the years.

Influenced by early groups like Kraftwerk and Parliament, it was no surprise that the 80's fusion of Electronic Music, Funk and Hip Hop that brought about the Electro Funk sounds, would have such an impact on him. As a kid, Lamont Norwood aka DJ Di'jital became acquainted with the idea of mixing two songs together using tape decks, which while being limited, still gave him the drive and passion to pursue a career as a professional DJ. Over the years he played many different house parties and underground clubs, even spending some time as a Cabaret DJ.

Throughout this time, Di'jital became an incredibly skilled turntablist, quickly gaining the reputation of being a formidable force behind the wheels of steel. The year 1996 would prove to be quite a momentous one for Norwood, not only signing to the already well established label Direct Beat, but also becoming the official DJ for one of the label's finest and most important artists, Aux 88. Having already released his first EP, "Prototype", on Direct Beat, this would become a great opportunity that would help seal him as an icon of what was now known as the Detroit Techno Bass scene. Over the next few years,

Di'jital continued recording for Direct Beat, releasing some of the greatest and most unique Techno Bass classics to date, even doing a few remixes for some of Aux 88's most well known releases like "Electro/Techno", "I Need To Freak", and "Break It Down". Hit EPs like "From The Mind Of The Master", and "360 Degrees" became instant classics, still very sought after to this day. He also had some of his songs appear on some of the various Direct Beat compilations that were released between the years 1996 and 1999 like "Xperience De Bass II", which released "Radar2Bass", one of his most notable works, as well as the all time collector's album, "Techno Bass: The Mission".
Perhaps what may have been one of the biggest signs that his career was becoming exactly what he had hoped for, was the opportunity presented to him to remix Aaron Carl's classic "Down", which was released on the iconic Metroplex Records in 1998; Something that to any Detroit native would have been an honor and a milestone, given the reputation and level of success and influence that Juan Atkin's imprint had on the Detroit Electronic Music scene, as well as the global Electro/Techno movement.

Between the years 2000 and 2002, there was a small hiatus in complete EPs or albums being released by DJ Di'jital, although there were 2 different tracks released on the labels Bipolar and Studio iK7. In 2002, he went on to sign to another of Detroit's legendary imprints, Twilight 76, where he released 2 EPs, "Bass Programmers", and Di'jital's Revenge". In 2005, already a veteran and having amassed the necessary skill and knowledge needed to be a true beat warrior, Di'jital was now ready to join the resistance...Underground Resistance that is! Featured on the Interstellar Fugitives Vol. 2 compilation ( also later released as a 2xCD/DVD set ), Di'jital also released on the Electrocuter EP, which featured the previously released "Bang", as well as "Track 19".

In 2006, already well into the digital age ( no pun intended ), Norwood would release his first set of downloadable works, starting with an album called "The Prototype", on Twilight 76, which was completely unrelated to his first EP which was also called "Prototype". Recently, Twilight 76 has also released what is so far a 2 volume set of battle cuts dubbed "Electro Battle Tools".

The only known material that is known to be in the future for DJ Di'jital at the moment is a remix of Morphogenetic's "Techno Bass Is Back!", which was originally released as a free download to members of Technobass, but will soon be released on a 12"/Digital release that will launch the site's own label "Techno Bass Music". There will also be a follow EP by Di'jital, so stay tuned! Over the years, DJ Di'jital has proven to be an unstoppable force in the Techno Bass scene, tirelessly working to push the boundaries of Electro forward with his futuristic and visionary beats that have unleashed mayhem across the globe, not just in his published works, but also in his incredible DJ acts, where one can truly witness one of the few actual turntablists in this style of music. Expect more in the future as Di'jital's revenge continues to spread across the globe with his out of the ordinary approach towards Techno Bass music.

Marbod shows up with an adventure into wonderful sounddesigned housemusic. These four pieces of deeply grooving structures might are be influenced of early works by himself. He is coming home to his own imprint prooves once more how modern House Music should sound like: deep, groovy and always surprising

The Benoît Pioulard Listening Matter is the sixth kranky album from Thomas Meluch under the nom de plume Benoît Pioulard. It arrives on the 10th anniversary of his first LP Précis, and offers a rekindled focus on self-examination, as well as a return to vocal-based pop structures following the mostly instrumental Sonnet (2015).

Recording for the Listening Matter began during a period of grief, turmoil and self-medication, and continued throughout two years of growth and healing. Reflections on vice ("Layette", "Anchor as the muse"), virtue ("Narcologue") and death ("A mantle for Charon") feature equally in this concise treatise aimed at the flawed-but-resilient core in us all.

By coincidence this album was completed on the very day Meluch's only brother died; accordingly, it's dedicated to him and anyone seeking paths away from their demons.

After a few digital releases, Lunar Convoy delivers a masterfully executed debut EP to inaugurate newcomer belgian imprint NORITE's vinyl series. Counting Northern Electronics, Hypnus Records, Semantica and Prologue among his main influences, Lunar Convoy's first effort is utterly coherent while not failing to evoke a plurality of emotions. Imbued with sacred atmospheres, infiltrated with mysticism, ritualistic melodies and aesthetically charged rhythms, Outer Rim Territories is a testimony of his love for deeper realms. On the A side, Seswenna's trancey lead synth and pumping bass opens the EP with an excursion towards distant planets. Ryloth ventures into darker fields, scattered with whirring and saturated analog complains and haunted by ancient voices. On the flip side, Eriadu sets a more mystical pace with syncopated kicks and floating eerie pad, to embark on a parallel dimension. Allen's take on Ryloth is symptomatic of the US-based producer, speeding things up and offering a stripped down version filled with devastating hi-hats and firing toms to end this solid 4-tracker with the hypnotic-yet-effective sound that got him signed on Attic Music, M_Rec Ltd, PoleGroup or more recently Granulart Recordings. With such a captivating release, Lunar Convoy has set a high bar for the upcoming releases and left us under his sway.

On the second chapter of the KOOAAD Muzik saga, obscure composer Filippo Diana shakes hand with Cronenberg, Carpenter and Detroit's finest electro pioneers and delivers a masterful soundtrack to the never released sci-fi movie NEMESI.
'A neuro scientist synthesizes a protein that amplifies sensory perceptions. Using himself as test subject, in an attempt to establish the right dosage, he takes too many shots that will quickly and inevitably plunge him into the depths of insanity.'
All tracks are filled with a tension that ranges from fear and mystery to arousal and ecstasy, accompanying a vision that never became cellulose yet entrains our brain like a stroboscopic dream.
Music to play on a monochromatic screen with oscillating brightness at theta frequencies.
Seven tracks mini album selection of the original sound score.

After a run of releases including music from Rex Club residents D'julz and Phil Weeks, and a beautiful Atlantic breakaway with Fred P, Rex Club Music brings in the boss of Poker Flat Recordings, the maestro himself, Steve Bug. A gentleman and a scholar who has been a key figure of the techno scene since its very early days, Steve Bug is also the mastermind behind a prolific and in demand label. He is a man who is always on point, looking to the future, maintaining the present and drawing on the past to operate in that magical intersection between the different eras of time.Indulge in this short course of Rexology for proof of his mastery, which is expertly applied with this polished new EP.First up we have 'What's Happened', a track that occupies the space between tech house, acid and dub. Get ready for some hard stepping on the dance floor when this track is unleashed. Then ROD goes in hard with two remixes of 'What's Happened', upping the ante, increasing the tempo and urgency to create an air of emergency. With 'Remix One' ROD has us on high alert, while 'Remix Two' focuses a little more on the groove and catchy analogue flashes. On the flip we have a night of 'Berlinian Rexing', with its time-lapse atmosphere allowing us to teleport between Berlin and Paris in a cacophony of whirring synths and uplifting stabs. The track plays on timelessness, creating classic tropes and creating the kind of atmosphere that underpins all of the most unforgettable nights.

For their third Delicacies 12" this year, SMD take a deeper, more spaced out approach, in contrast to the strict techno of the previous two releases. "Far Away From A Distance" features hypnotic synth washes that glide slowly in and out of time with the track's rhythmic bed, stumbling over each other in a 5am haze. "Flying Or Falling" pushes into classic SMD melodies, mournful Detroit indebted warmth spilling over the groove.
Guest remixer this time is the ever excellent Lena Willikens, delivering massive club fire in the form of her own much more minimal take on 'Far Away From A Distance", stripping it back and only allowing the melody to intrude in the last third.
After a short hiatus following their modular-only, desert recorded last album 'Whorl', during which SMD's James Ford found himself on production duties for everyone and their dog, SMD are back with bunch of techno cuts on their own Delicacies label.
Over a couple of months in Jas Shaw's newly re-located synth-dense studio in leafy Kent, which saw SMD once again experiment with live jams as the basis for their production, they've pulled together a selection of eight tracks for release as a series of four singles over the coming months.
SMD fans will note that the earlier naming convention of Delicacies has fallen by the wayside - for the simple reason that we've pretty much run out of weird and wonderful food stuffs to steal names from. Instead, a semi-random automated process has been used to create the track names.

Prince Jammy became a King while cutting his musical teeth working for the dub master himself King Tubby.
In that old Jamaican way, when everyone in Jamaica was given a new name to work with, Prince Jammy as he would be known so impressed his colleagues that he rose from a Prince to a King,both names given to him by producer Bunny 'Striker'Lee.
Out of the many protégés that trained and worked at King Tubby's....and there were many, Scientist, Pat Kelly .Prince Phillip Smart to name but a few it was King Jammy's work that was the main stay .
We have selected a set of tunes that were rebuilt with King Jammy at the controls...
Hope you enjoy the set

The Martinez Brothers Cuttin' Headz returns with a new EP from The Butcha, entitled '10001' and backed with two remixes from Matrixxman.Phil Moffa aka The Butcha is a New York City based musician, producer and engineer most notably known for his works alongside DJ Spider and Anthony Parasole for Sublevel Sounds / Plan B Recordings and alongside Seth Troxler for Hypercolour. Here we see him return to the fledgling Cuttin' Headz imprint with his idiosyncratic take on raw, emotive house music following his Destination Void release alongside DJ Spider and Brendon Moeller last year.Up first are two originals from The Butcha, the first of which '99 Prince St.' lays focus on echoing atmospherics, snaking Rhodes and shuffling dubbed out percussion while the latter, '6 Hubert St.' pivots towards an amalgamation an upfront organic rhythm alongside a weighty low end drive and wandering synth swells.
To complete the package San Francisco's Matrixxman delivers two interpretations, firstly the 'Acidized Mix' which as the name would suggest draws on squelching 303 lines layered over processed snippets from the original before the digital bonus 'Transhuman Mix' closes on an arpeggio fuelled Techno tip.
The Butcha's '10001' is out on Cuttin' Headz 23rd September 2016.

Based out of San Francisco, Extra Classic is a unique live band formed with a keen appreciation of vintage reggae & vintage sounds. The aesthetic, and certainly the skilled method of their production, is an ode to the art of that classic style as referenced to the term coined by the Cool Ruler himself. Recording in their own studio, Nopal Recording, the band employs a taster's choice of analog equipment and is devotedly tracked, spliced and mixed in-house direct to tape. However, as the group's name itself implies, there is a dose of something extra and new in this swirling mixture of space echo, heavy phase, and emotive, psychedelic California-soul.Built upon the rock of an early-era dancehall swing, their first single in conjunction with Brooklyn-based imprint Names You Can Trust entitled In This Life, is a perfect slice of lover's rock gone sideways, a decidedly left-coast piece of roots and bliss driven by Adrianne deLanda's lovely lead vocals and the steady, dusty echoes of the locked in players. Presented in the traditional format with a version as per NYCT fashion, the dub mix incorporates a soothing dose of synare beams and underwater instrumental dreams.

Poker Flat Recordings deliver another killer collaboration, this time between Berlin's youANDme and The Analog Roland Orchestra. The result is Reflection - an EP containing more than its fair share of pure dance-floor moments. The Analog Roland Orchestra is Michal Matlak, the Berliner whose intimate knowledge of dance music's most iconic machines has made him a much-in-demand producer and remixer. Teaming up with party starters youANDme as well as vocalist Black Soda, the title track of this release explores deep vibrations, merging 303 basslines, crisp 909 programming and a highly effective vocal. The Dub Tool reworks the vocals into a more spacey arrangement, adding atmosphere for DJs who like to keep their sets stripped back and trippy. The Hyenah remix flips the script and develops a deep afro-house inspired cut - the man from the Caymen Islands developing an irresistible groove stretched out over seven and a half minutes. The Acid mix gives an opportunity for the guys to get busy working the 303 to its full (un) natural potential, while the Morning Light mix locks into a cosmic vibe - shimmering synths over a smooth, rolling deep house vibe.

Many of you will remember Manuel Göttsching by his Masterpiece E2-E4 and know the fact it got sampled by far more than once. Think Sueno Latino' to start with... and the plethora of further re-recordings by Derrick May, Joe Claussell, and a bootleg by Carl Craig that prove how Now' and Iconic Manuel´s Work is. The 2006 edition Joaquin Joe Claussell meets Manuel Göttsching' is the first attempt to bring these once illegal mixes finally to a broader and wider audience. It comes with 2 very rare and first time officially released tribute mixes of 1970´s Göttsching Classics, carefully remodeled by Joe Claussell (21.12 minute Deeper Distance' plus 10.17 Minute Ain´t No Time For Tears"). The last words, however, are left to MG himself, with Shuttlecock", a final eighteen minute excursion, which has Manuel improvise over a soft carpet of delayed bell sounds, before the guitar fades away and the track deepens and thickens, like a dark river sweeping along ever more motives and harmonies. A perfectly balanced collaboration released on both CD and LP. Consisting of 3 concert recordings which were originally released on the 6th CD Album Private Tapes : Tracks 1 und 3 were recorded at Bataclan in Paris, 12/1976, Track 2 in Berlin 8/1979

LP 180g, beautiful embossed Chess Board Artwork Print, inner sleeve with artist picture and text by David Elliott, Sounds June 16, 1984 In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART. Carefully overseen by the Master himself Total Time: 59:34

&apos's music veers between abstract, experimental compositions and more beat driven tracks, all held together by a defined aesthetic of sonic impurities and random patterns thrown up by algorithmic computations. In &apos's music compositional decisions are not merely reliant on himself but also on a range of processes from constrained randomness to full fledged neural networks. That is to say, the 'instruments' he creates have -to a certain extent- a mind of their own. There will always be a dynamic between the musician and something else that triggers, proposes or decides what will happen to the music.It is exactly from this human-machine interaction that &apos extrapolates his musical ideas that are both intricate and detailed while never losing an overall sense of emotional value.
His first solo project 'Lichtdrank' is a selection of four tracks made during his time studying Sonology at The Hague's Royal Conservatory and the time following. It is the third and final installment of bepotel's startupLabel trilogy. Previously, he has released music together with Walrus and Sagat under several musical projects like smaakwaterval and bepotel. The artwork of the Lichtdrank EP is based on screenshots from an interactive multiplayer video game where the musical universe of &apos can be explored.

Chicago Basement Trax returns with an homage to the king of the raw himself Ron Hardy. Those that experienced Ron Hardy first hand will tell you there was a vibe like no other. A minimal space with strobe lights and a bangin system. If you put your hands on an EQ or isolator as a DJ thank Ron as being an innovator of this creative style of frequency manipulation. Not only did Ron drop the bass, he dropped whole songs to expose the beautiful crispy hi hats, vocals and then romanced you with the piano before slapping your whole body with the beat. This ep does it's job to take you there, just close your eyes and blast off!

In 1997, a quiet, unassuming man of 59 years old named Victor Tavares - better know as Bitori - walks into a studio for the very first time to record a masterpiece which many Cabo Verdean consider to be the best Funaná album ever made. Bitori´s musical adventure had begun long before this point. It was 1954 when he embarked on a journey across the seas to the island of Sao Tomé & Principe. The young man´s hope was to return to Cabo Verde with an accordion.

Following two years of hard labour Bitori had succeeded in saving enough money to acquire what was to become his most valued possession, his cherished instrument. The two month journey back to Santiago, his island of birth, proved time enough to master it. Self taught, Bitori developed his own style, an infectious blaze, that quickly caught the attention of the older generation. Before long Bitori was being asked to share his musical talents, igniting the local festivities around Praia with his music.

But not everybody welcomed the rural accordion-based sound. Perceived as a symbol of the struggle for Cape Verdean independence and frowned upon as music of uneducated peasants, Funaná was prohibited by the Portuguese colonial rulers. Performing it in public or in urban centres had serious consequences - often jail time and torture awaited musicians that were caught in the act'. In light of such persecution the genre of Funaná began to slowly disappear.

In 1975 Cabo Verde achieved independence from Portuguese colonial rule. Along with Cabo Verde's independence came a lifting of the ban placed on Funaná. The musical repercussions in Cabo Verde were plenty - many upcoming artists embraced Funaná, translating and adapting its musical form in new ways. It was not to be until the mid-1990's, however, that Funaná in its traditional form was actually recorded. It was a young singer from Tarafal, Chando Graciosa, who was to play a key role in this event. Upon hearing Bitori, Graciosa immediately felt drawn to Bitori's unique playing style - a raw and passionate sound accompanied by honest lyrics that reflected the harsh reality of the Cabo Verdean working class. He eagerly approached Bitori suggesting they join forces and travel overseas with the objective of taking Funaná beyond its rural roots. The two of them, with others in tow, achieved their goal and travelled to Europe, introducing a receptive European audience to the vibrant energy of Funaná.

Eventually Bitori returned to his beloved Cabo Verde. Graciosa opted to settle in Rotterdam in order to pursue his career - he vowed, however, to bring Bitori across to Holland at a later date to record an album.

In 1997 the time was ripe to immortalise the sound Bitori had shaped over a time span of four decades. Built around a formidable rhythm section, formed of drummer Grace Evora and bass player Danilo Tavares, "Bitori Nha Bibinha" was recorded. The recording catapulted Chando Graciosa to stardom, making him Cabo Verde´s No.1 interpreter of Funaná.

The success in Cabo Verde was phenomenal and Funaná rapidly gained the recognition it deserved, especially in urban dance clubs. Bitori´s songs quickly became standards - classics known and loved throughout the country. The musical success, however, was solely limited to the Cabo Verdean islands - until now!
Analog Africa is proud to contribute to the worldwide promotion of Funaná - the once forbidden sound of the Cabo Verde archipelago - by releasing a worldwide re-issue of Bitori and Chando Graciosa´s legendary recording.

The release will herald Bitori´s first European tour taking place during the summer of 2016. Watch this space! And listen!

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

It is very difficult to present David Duriez without writing an encyclopedic tome as its influence on the House music in France was decisive. Since its inception in 1992, David released over a hundred records under his name, tens under various pseudonyms, mainly on vinyls on the most renowned labels like 2020Vision, Ovum, Systematic, Pokerflat, F Communication, Under the Counter, Stickman, Crosstown Rebels, The End, etc .. (the list is long, see Discogs to be convinced) and as many remixes for some of the greatest artists (think Moby, Dj Sneak, Gemini, DJ Hell, Llorca, Telex, Random Factor, Johnny Fiasco, Paul Johnson, Jori Hulkkonen, Ralph Lawson, Random Factor, Kenny Hawkes or Mr.C).

Founder of the label Brique Rouge and a whole galaxy of other labels, he participated in the creation of internationally recognized labels such as Robsoul with Phil Weeks, Freak n'Chic with Dan Ghenacia (from Apollonia) or Rz Muzik. At a time when David had federated online the cream of the House producers via a forum (far and long before social networks), Ivan Smagghe had nicknamed him "the producer of the producers." , A true House Music activist,

But most of all David Duriez is a devastating dancefloor DJ, He did several tours around the world and played in some of the biggest clubs in the world between 1995 and 2010. Truly one of the most important players in the French electro scene, David is back on tracks after a few years hyatus. But don't call it a comeback because he has never really gone awol, he has been watching the scene and now he's back in the studio. You can expect a (very) long serie of releases for 2016, you have been warned!

Peng Sound Records kick off the year 2016 with their first set of 10' discs - the original dubplate format does seem rather fitting for what is perhaps one of the biggest and most in-demand cuts from Ishan Sound & Gorgon Sound in recent years, a big contribution to their unstoppable rise in soundsystem music territory. Trojan, the grime-tinged steppers is reminiscent of the seminal 'Find Jah Way' by his peers Gorgon Sound, yet it's still an unmistakeable Ishan Sound production, in the way it's sonics are laid out and presented. In perfect combination fellow Young Echo cohort Rider Shafique steps up in authoritative style, going full charge at the walls of babylon with lyrical firepower. The Ishan Instrumental and the Gorgon Remix have been staples in sets from the likes of Iration Steppas, Kahn & Neek (aka 'Gorgon Sound') Mala, Dubkasm and and of course Ishan Sound himself. The list of selectors who have played this is small but refined, this one has been kept close to the chest, in true tradition to the dubplate ethos of exclusivity. In addition to the instrumental cuts, Peng Sound Records present the burning vocal cut with Rider Shafique. Flip the disc, and the Version awaits, letting the rhythm take full control, for extended dubwise pressure. For all the selectors out there, this release comes packed with enough version excursion to keep the fire burning 'til the dance is charred and dusted by means of frequency. The second disc comes loaded with the infamous Gorgon Sound remix, sonically pretty much exactly between the sounds of Bandulu and Gorgon, with their extra overdriven low-end and amplified, multiplied kick drum pattern, their version of Trojan is arguably the most explosive of them all. The combination of Ishan, Gorgon and Dubkasm is something we've come to expect from Peng Sound now, but this is the first Record that combines all three on one plate - the final cut on this set of Trojan interpretations gives us an exclusive, brand new Dubkasm counteraction - flipping the energetic steppers on it's head in favour of an uplifting one-drop beat, giving the vocal and rhythm a brand new space and presence. If the first three cuts were there to mash down the place with unhinged, dangerous soundsystem attitude, then the Dubkasm cut could be seen as the cool and easy soundboy burial, cementing Rider Shafique's message with deadly effect.

Nas' I AM was his third studio album release and proved his reputation of one hip-hop's leading rappers. His strong lyrics are heard on tracks like "Small World" and "Favor for a Favor" featuring Scarface of the Ghetto Boys. The original material of the album was leaked onto the internet and this forced him to record completely new material.

The album debuted at #1 on the Billboard 200 and on the US Top R&B/Hip-Hop Albums, and was certified Double Platinum in the USA. In the US Nas had chart success with tracks "Nas Is Like", "Hate Me Now" and "You Won't See Me Tonight" featuring Aaliyah. The production on this album is solid and stands up, even to this day.

With his first EP on Orbis, Binny is ramping it up, once again.
We're very pleased & honoured to host him, his 11th appearance on a vinyl record so far.
Someone to watch out for!

"Resistance" & "Infinite Ratio" has a brilliant hypnotic tension to it.
We won't bother explaining these two. Simply Binny, UK tension building up and excellent for playing 3 decks.
Excellent DJ tools.

On the B-side, Lee takes it to the raw side of analogue techno.

Lee Holman, a veteran that should ring a bell.
Performing in clubs since the late nineties, he has travelled throughout Europe compounding a reputation for his unique vision on Techno.
Production has earned him international recognition, leaving his mark building a reputation for consistency, originality and delivering his dynamic sound on both cutting edge and classic Techno Labels. In other words, Perfect Orbis material!

"Instructional" is no-nonsense raw material, the way Lee likes to build up his tracks.
Straight forward. No compromises. Plain old good techno.
If you're a fan of some older and raw flavoured repetitive techno, you'll want this to light up the dancefloor!

"Urbanite" well. Quircky, filthy, heavy, stomping,... You get the picture.

We're very honoured to host these the gentlemen,
as we're convinced they are a very good fit that matches our vision: transcending mediocre electronic music.

Susso, aka bassist / producer Huw Bennet, creates music inspired by, and directly sampling, the magnifcent sounds of the Mandinka people, recorded during a recent trip to Gambia.
Initally travelling with the aim of gaining perspectve as a musician and to discover a new world of music frst hand, Huw found himself humbled by such a welcoming community of artsts, mostly belonging to the celebrated Suso and Kuyateh griot families.
The tracks are composed entrely from original source material, feld recordings and Huw's talents as a mult-instrumentalist; performing tuned percussion from the region including
the Mandinka Balafon, Kutringding drum, aswell drawing on his skill as a professional upright / electric bassist. The music produced has a contemporary electronic sound, whilst
stll paying homage to a traditonal Gambian aesthetc. Keira (meaning peace) guides the listener through Huw's journey up the River Gambia, being welcomed into remote dusty villages, where your people are the most important thing in life.

Next installment of Rex Ilusivi archive uncoverings - This time a live concert from SNP (srpsko narodno pozoriste / serbian national theatre) in Novi Sad, Serbia. Again it's a sublime masterclass in layering and mixing from the much revered King Of Illusion. TIP!
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'To this day Rex Ilusivii remains an enigma of the global music culture, caught between late cold war electronic spheres, classic and the power of found sound. A musician from the Southeast European counterculture, whose art today seems to be the worldly intelligence of the modern age. Listening to the early music of Mitar Subotic sounds like catching the future even tough you know here sounds the past. How can somebody be light years ahead of most of his contemporaries in terms of individuality and uncompromising vision, creating such musical narratives with a feeling for outernational space' It must have been the signs of his time in Yugoslavia, that lead him to compositions in which two or more antithetic forces fight each other for the cause of an unheard harmony that melts industrial, sample art, Musique concr'te and ambient. His 'Koncert SNP' from 1983 demonstrates his ingeniousness to the core ' about 38 minutes of experiment and appeal that move playful between demonstrative frankness and seductive sensuality. You hear pulsating synthesizer bliss, widescreen sample art full of Bosch-like images and elusively drama catchiness that absorbs deep. So deep that words can't express their meaning. Only notes can spell out the score. Listening to his live recording several times without a break reveals also a story arc of literary transcendence. And as transcendence is something beyond speech, the music of Rex Ilusivii can't be narrowed down in phrases. Only one thing must be recommended: surrender to it and it will surrender to you.
Michael Leuffen in June 2016

Tvir is a vinyl only label based in Ukraine. Translated from Ukrainian Tvir means composition'.
Horror Vacui is a term that stands for "fear of emptiness", in the art world. Certain Moscow characters known as Sil (Easy Changes), Anrilov and Cross (aka Sick Disco) fight their own, personal inner fears by the means of dark, mysterious and gluey house in this new collaboration.
B side included 2 great remixes from Tommy Vicari Jnr and Japanese musician Takashi Himeoka. Enjoy!

A new Undefined release! We are ever so proud that our fourth EP is made by RADIQ.

This man needs no introduction. We consider him to be an absolute legend in what he does and what he has already accomplished on a musical level. A producer that fits Undefined like a glove. And we are very happy with the music he made for our label.

Titonton Duvante is on our team now too, and delivers his own stunning interpretation of Radiq's 'Daviselim'.

We are starting a series of collaborations on our label where we invite long lasting producers to do a release on Undefined. Undefined 4 is a nice kickoff for a number of vinyls and we are planning to keep this one running for a few years! Check this out.

From Amsterdam with love.

1973-1976 was a period in Reggae's history when the music coming from Kingston,Jamaica was at its peak.
So many talented singers,who sang soulful/righteous songs found their way onto tape.
Maybe it was the competition between the studios like Randys,Channel 1 and Harry J's and the quality of the singers available to sing these tunes.But whatever caused the explosion the mighty voices of Horace Andy,Cornell Campbell,Johnny Clarke and Ronnie Davis never sounded better....
The tracks as you can see here were culled together from sessions recorded at the fore mentioned legendary studios.Then taken to King Tubby's home style studio at 18 Drummlie Ave in the Waterhouse district of Kingston.This is where the great Dubmaster himself would record the vocal tracks.
A method in which he preferred to work and then mix the tracks Tubby style...We have travelled to Jamaica and listened to hours of master tapes to bring this set to you.
So please sit back and enjoy what we believe to be a wicked set by Kingston's finest..
ALLSTARS one and all........
One more tiem Mr.Tubby if you please ..roll that tape....

De Sluwe Vos (Dutch for 'The Sly Fox', a name derived from Aesop's fable of the Fox and the Crow) is the newest addition to the Dutch house and techno scene. His productions are supported by artists such as DJ Sneak, Joy Orbison, Boddika andBicep. Moreover, De Sluwe Vos has a packed tour schedule and travels many miles for all his national and international gigs.

With strong hooks and dirty kicks as his specialities, De Sluwe Vos has released multiple tracks on labels like 4Lux and Slapfunk. Lately, this cheerful producer from Dutch city of Deventer has even been gaining a foothold in the pop scene. His gig at Noorderslag did not go unnoticed: national music platform 3voor12 named him the best act of the festival.

De Sluwe Vos mixes various styles to create his own 'signature sound' with which he manages to constantly keep himself at the center of attention. His 'OG Anthem' is possibly one of the most notable tracks of the moment, this underground hit found its way to the surface and received airplay on both Dutch radio station 3FM and BBC Radio1.

With his discography, De Sluwe Vos is constructing a steady career. But he's not one to stay hidden away in the studio: he's at his best when dominating dance floors in clubs and at festivals. His ultimate goal is to bring the crowd to a higher state of mind, where worries simply disappear and the music takes over. Time and time again, De Sluwe Vosprovides proof for the big bang theory with his performances. Whether it's at Awakenings Festival in the Netherlands or at Together Festival in Cardiff: during his shows he is pure energy. His duet between his Roland TR- 909 drum computer and turntables is always a bold endeavor, just like his stage diving.

The fact that he is a fixture of the club scene is proven by his monthly international gigs, his own night The Core and his notorious live act. With the audiovisual show 'Kontra live', De Sluwe Vos is well underway to becoming 'one of the greats'. And that's no fable!

Berlin-based Marlon Hoffstadt drops 'Coach Mike', the fourth EP on his own Retrograde imprint, featuring remixes from Massimiliano Pagliara and The Friend and following a hat trick of successful releases. The four-track EP is the sophomore release from Hoffstadt on his burgeoning label, which he co-founded with Natureboy Gold and Matteo Luis in August 2015. Previously featuring the likes of Kris Wadsworth and Tuff City Kids, Retrograde provides a platform for the artists to explore music alongside other forms of expression such as art, particularly surrealism. The vinyl sleeve artwork from the first four releases, when fitted together, completes the painting 'Interaction' by surrealist Hermann Reimer. With previous releases on FFRR and Play It Down, Hoffstadt boasts a sound that is both innovative yet authentic, and 'Coach Mike' displays the sonic alchemy that the talented producer, aged only 22, has already become known for. The title track starts as a grooving acid-based cut peppered with percussion before building up suspense to a surprising yet satisfying breakdown. This is his first release without vocals, allowing him to focus entirely on creating pure soundscape. Panorama Bar resident and Live at Robert Johnson mainstay Massimiliano Pagliara's rework of the A side is a Balearic-tinged affair, starting with a solid drum and building to a crescendo of bass, pads and synths, along with the analog synth elements for which he's known. This is an undeniable summer anthem that will captivate dancefloors across the world. 'Broncos' is a club track created for the floor. An acid bassline sits alongside industrial elements and stabbing synths.

The incomparable Mark Henning blasts back on Soma with yet another dose of machine funk as he drops the Jaguar EP. Mark has consistently been one of Soma's top artists due to his amazing sound design and keen knowledge of exactly what make a top dance floor track and this latest EP really shows him operating at his highest level.

Mark doesn't waste anytime in getting down business with the elastic funk of title tack Jaguar. Classic drums and one catchy synth hook does the absolute damage on this opener. Ink brings a bit of Chicago style jack to the EP with Henning really working the percussive elements before letting loose with some screaming synth work. On Yes yes, Mark delivers the most melodic sounds of the EP so far, simple and effect percussion backs a extremely well crafted, bouncing hook. Closing of the EP is Atomic and Mark really picks up the pace with this one, definitely heading down a more Techno path. More direct and intensive drums keep the stride whilst subtle vocals, sequenced tones and raw sythn stab delivers the groove.

Henning has once again delivered a very diverse EP that straddles the boundaries between House and Techno perfectly, all brought together with his unique and altogether striking production

They say all good things comes in threes, and with the marking of Nachtbraker's 3rd release for Heist, we can confirm this universal truth once again. Maurits Verwoerd comes back to Heist with more dancefloor muscle than ever before, and shows us great development of his sound: while keeping his unconventional drum patterns and love for the deeper side of house, he adds some filtered funk flavor along the way. 'Gotta act to react' drives on a saturated bassline, a hypnotizing guitar lick and some seriously loose hi-hats, but really delivers once those hard to place filtered hits come in. 'Pollo con Pollo' is potentially Maurits' most clear attempt at a straightforward groove, with a lovely dreamy guitar loop running throughout the track. Add his loose sense of arrangement and changeovers, and it's still anything but straightforward. The B- side gets nice and weird with 2 versions of Intermezz(l)ow, the one being a lovely textured interlude and the other a rough drum workout built around the same theme. When we asked Maurits who he wanted to have as a remixer, he suggested he'd do a remix himself. We knew better than to argue with him, and since he is who he is, we're not entirely surprised he came up with a great dubbed out acid-tinged flip of 'Gotta act to react'. This EP really shows Nachtbraker's steady rise and will most likely take him out of the shadows he so enjoys, into headline territory and we're glad to support him in this journey. Sincerely yours, Lars & Maarten

Phil Collins revisits a career that can boast over 100 million sales and numerous worldwide #1 albums. Both Sides will be remastered by Nick Davis, who earned a Grammy nomination for Best Surround Sound album for his work on the Genesis '1970-1975' box set. Davis has also worked on all of the Genesis retrospective reissues.

Entirely curated and compiled by Collins himself, his idea for the 'Take A Look At Me Now' concept is to examine how his songs have evolved over time, with the majority of the additional content throughout the series focused on live versions of the tracks. By contrasting the original studio versions of the material with later performances, the series demonstrates how Collins' songs take on a life of their own once they're freed from the confines of the studio.

Collins returned to #1 in 2010 with 'Going Back' which represented his first studio album since 2002's 'Testify'. 'Going Back' was a personal labour of love project that found him faithfully recreating the soul gems that played such an influential role in his musical life.

The concept, he said at the time, 'Was not to bring anything 'new' to these already great records, but to try to recreate the sounds and feelings that I had when I first heard them.' That objective was achieved with the help of special guests including three surviving members of The Funk Brothers: Eddie Willis (guitar), Bob Babbitt (bass) and Ray Monette (guitar). 

'I decided to call this version of 'Going Back' 'The Essential Going Back',' he explains. 'In retrospect, I included too much music on the original version, and I believe that too much is not always a good thing. Hence this trimmed down selection of my favourite Motown songs.'