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Having broken a decade's silence with 2016's 'System', LA-based electronic musician Joseph Fraioli, a.k.a. Datach’i, returns this summer with his eighth album 'Bones'.
Released on Venetian Snares' Timesig imprint, 'Bones' features 12 tracks of mind expanding electronica, once again recorded on his custom-built Eurorack modular system. Much like its predecessor, 'Bones' manages to make the most of the possibilities modular systems offer, whilst avoiding their many pitfalls that can often turn such music into little more than a dry academic exercise. Indeed 'Bones' is a remarkably intimate album, written and recorded in the time following his father's death, and reflects this intense period of personal change in Joseph's life.

"Creating this music was a therapy of sorts," Joseph recalls. "It was almost like a close friend being there for me, and it's something that I hope others can perhaps utilize in the same way."

The connection to his father is something that is reflected not just in the emotional intensity of 'Bones', but in the actual production itself. "My father and I were very close," he explains. "Whilst he was sick with cancer I bought him a guitar as he wanted to learn how to play, just to have something to do while he was getting treated. After he passed away my mother gave me the guitar to have as a sort of memory of him. I had the idea to record some sounds and music on the guitar and load it onto granular sample players on the modular synth so I could make new music from those sounds as a sort of tribute to my dad. You can hear some of those sounds on a few of the tracks here like 'Arrivals', 'Motion in the Living Room' and 'Undimension'."

The resulting album grapples with the intensity of these emotions. But for all their weight, tracks like 'Saugerties Road', ‘Rockledge 3A’ and ‘Antumalal’ transform that heaviness into something warm and comforting whilst the aforementioned 'Arrivals' or ‘Wand’ ultimately achieve some kind of escape velocity and soar. Even though 'Bones' is about endings and finding closure, it also looks forward to new beginnings.

"It was something very much on my mind throughout recording this album," he relates, "ends being beginnings and beginnings being the end. Cycles of time and how time works, it's all reflected throughout the album right down to how the tracks are ordered."

Ranging from blissful ambience and guileless, starry eyed melodies, to intricate claustrophobic rhythms that forever sound close to collapsing in on themselves before expanding into bold new patterns, 'Bones' is the work of a producer who, twenty years on from his debut, continues to push the boundaries of electronic music.

canadian beatdown master “eddie c” is back with fourth full length on endless flight!

this new album is his unique mixture of laid back hip hop and lo-fi house sound which is inspired from late 80’s to early 90’s and much more darker than usual.

the album kick off by old school hip hop tracks of “carbondate”,in the park” then new wave disco sound of “way uptown” it reminds us nyc post punk/new wave artist “konk”,dubby brazilian percus-sive disco track “batucada”,”berlina” is early 90’s nyc house like pal joy, probably most club friendly track “bad words” is wired new wavy vocal house madness and the album close with dreamy down tempo track “an der wedding” heavy kraut rock influenced stuff.

hope you enjoy.

Juan Ramos opens his debut album with The Problem With Ambiguity and Finding Space—speaking to a societal confusion, a fragmented sense of self, and a pull toward many (often unwelcoming) directions—this turmoil in which he’s spent considerable time, sees him invest grave efforts to express the inexpressible. Changing Hands is a time capsule of that dark period in his life, an overtly honest musical diary which puts his emotional coming-of-age on full display, hoping to reach kindred listeners. While his previous output for the ESP Institute used a certain level of complication to push limits on the dancefloor, this immersive work cuts deep in to a frayed psyche, dismantling our preconceptions of Juan and plunging listeners deep into a stew of jarring textures, incomplete phrases, and circus-like abstractions of pop culture. There is a nonchalant and unhurried experimentation that accumulates over the album’s first half—disconnected and anxiety-riddled personality traits constitute various musical roles, sporadically converging in fleeting moments of optimism although never fully climbing out from the abyss—and yet amidst this chaos there is a watershed moment in which the artist successfully gleans a golden morsel of hope from his emotional junkyard, guiding us across the threshold into the album’s second half while diligently protecting the glow of this rock bottom treasure. Juan begins to reveal his inner b-boy—a distorted view on golden-age Hip Hop roots, an affinity for muddy break-beats, sultry loops and metaphoric interludes—the crown prince of a newly-found safe space. It’s as if he had us searching on all fours for a misplaced joint, but now that it’s finally lit, he assures us that everything’s going to be alright.

Vinyl Only 2x12"

Minimood introduces a series of fusion releases between cold-wave, gothic, post-punk on the one hand and ambient, techno, house, electro on the other hand. We hope that the ensuing synthesis between categories disseminates novel as well as sustained types of inspiration. The first project in this series presents the song Wie Raben by the post-punk band Factice Factory with electronic interpretations by André Galluzzi, Christian Burkhardt, Iori, Reinhard Voigt, as well as ROD.

Producers at the heart of the broken beat revival, EVM128 and James Rudie met through the CDR project, and soon after started to mess about collaborating with Gonzi. After coining the concept of INPUT, they found a home via Tony Thorpe at Studio Rockers and the seed was sewn. The concept is simple, make a beat, pass it on, and let someone else add to it. Its about letting go of self and letting the music go somewhere it wouldn't have gone otherwise. It was a labour of love until each track felt right. Talented musicians, producers, singers and rappers came on board to fulfill the brief, and the end product is a modern day broken masterpiece. It's about collaboration, whether in the mixing and arrangement, performance, keys, percussion, synth, bass, - everything was a joint effort.

INPUT is released on Studio Rockers on 19th July 2019 as a double vinyl release.

A LITTLE ON THE ARTISTS INVOLVED :

Written by curator EVM128, James Rudie and Gonzi are both killer producers who met me at CDR and also became part of Co-Op presents Selectors Assemble with IG Culture and Alex Phountzi. You can hear them both on Naughty Groove and Gonzi on Gut Level.

ISHFAQ is an elusive producer that has been making beats for time but is still under the radar. He's a force to be reckoned with. Watch him cos he's dangerous! Hear him all over Naughty Groove on Keys and on Complete Me ft Natalie May. He just knows where to fit into a tune... He has an acute ear!

TurboJazz met me after Djing together in Milan and working together on remix jobs, where I remixed Turbo's 'Please You' ft David Blank on Local talk Records. In return Turbojazz remixed the EVM Beyond ft Uk Soul legend, OMAR. It was only natural to get them involved with this project.

iLL Smith aka MR K is a heavyweight producer making serious waves in the new Dubstep 140 low end scene. He gave me a couple tracks that were broken beat he had been sitting on and said "You should do something with these". One of which is GOLD which I only really added a Clap to and worked the arrangement and first mix down. I called on Daz I Kue for a rapper I'd heard on one of his tracks which had the right energy. Daz hooked me up with Nesha Nycee, a fierce rapper from Atlanta Georgia. She smashed it straight away and the tune just worked. This was probably the easiest out of all of them!

Nesha Nycee is a REAL rapper.

Shy One is a friend of mine and has worked with me on music a few times in the past. I always love when she sends me a beat, she has that lo fi dirty grime kind of approach, then I add my style to it and it just seemed to bode well. We worked together on Mother Nature on the Nova LP and this track for INPUT (One Design) which we were sitting on for a while. Tony got Steve Edwards (All Seeing I, Sheffield) on the vocals. This was an unexpected turn on this track that we couldn't have imagined, but it worked! This track is the epitome of INPUT in that, it went somewhere completely different!

Steve Edwards is a singer songwriter from Sheffield who works on projects with All seeing I. He has a great energy and the lyrics made me cry! Really amazing heartfelt lyrics that speak of now and has a positive uplifting vibe to it that we can all relate to. It will stick in your head for ages believe me.

Natalie May met me through soundcloud. She's been releasing UK Funky tracks for a while and worked with Rudimental. She reached out to me after hearing the Nova LP and the stuff on CoOp presents. She went to the studio with me after already writing to some instrumentals. Very professional and on point in the studio. Her voice is sweet and the perfect juxtaposition to the rough bass and drums on 'Complete Me' and when ISHFAQ got his hands on it, well... Nuf said really !

Daiva from the Lithuanian band KeyMono has worked with me for a good few years. We met in Lithuania when I was teaching music production to young people through MTV, I met their manager Istvan. She was on my Naked Truth EP and the Nova LP. I Love working with Daiva she's great! Her voice is amazing as is her professionalism. She sounds somewhere between Erykah Badu, Little Dragon and Fatima. She's always my go to for any collaboration! Hear her on 'The Edge'. The lyrics were written by Kermit (Black Grape / Ruthless Rap Assassins).

Renato Paris.. wow ! I mean what!!? We sent the backing track and two days later he sent back the vocal and we fell over! He has a voice that echo's Stevie Wonder and Omar! Really professional work ethic too. Still cant get over how good he is. This guy can REALLY sing and play keys. Watch out for more from me and Renato... Bruk meets RnB / Jazz.

We have created something special and unique where you can hear each persons input in the

tracks. We love it and hope you will too.

Patience began as bedroom synth project for songwriter Roxanne Clifford after the break up of her acclaimed indie pop band Veronica Falls. Born out of a desire to experiment with a new sound and analogue synthesizers, the project has since grown to become an all-encompassing persona and serves as the main vehicle for the full emotional spectrum always latent in Clifford’s songwriting. From her first long-sold-out 7” singles on Night School, her knack for melodic hooks and oblique emotional stances already contained a glistening sheen of promise. ‘Dizzy Spells’ serves as an intimate portrait of Clifford’s creative adventure, almost diaristic, conceived and recorded in her home studio, as well as with collaborators Todd Edwards (Daft Punk/Uk Garage fame), Lewis Cook (Free Love/Happy Meals) and engineer Misha Hering (Virginia Wing). Dizzy Spells delivers a debut album that twists Clifford’s songwriting into new shapes and ecstasies. The album dances around melancholy, thrown to the floor like a bad dream to be circled, emerging bright-eyed into the early morning full of hope. The Girls Are Chewing Gum (produced by Todd Edwards) bursts open Dizzy Spells like fresh fruit: sweet and rich with a synth-bass line beamed down from Chicago House heaven. Exquisitely sung by Clifford, it’s a wonderful, funky, instant-classic hinting at sexuality and memories dredged from our bodies’ secrets. The bouncy production expertly renders the addictive power of our ephemeral pleasures. Living Things Don’t Last chases themes of longing and loss, opening up into a life affirming chorus that sings of transience, the passing of time and railing against inertia. It’s the perfect example of a song formula that Roxanne Clifford has almost patented: simple and cutting straight to the point. There are shades of Strawberry Switchblade or French synth pop pioneer Jacno in the happy/sad dichotomy and it is all the better for it. Dizzy Spells features all three long-sold out singles, embedded in the full depth of Patience’s soundworld they fit like pieces of a puzzle. White Of An Eye, The Church and The Pressure—all recorded in Clifford’s former home of Glasgow—crackle with razor sharp melodies and dancefloor-ready dynamics. There are exciting additions to Patience’s sonic palette, brought into sharp relief on Voices In The Sand. In this song, a plaintive Clifford enunciates a heart-torn plea to the antagonist, a mournful cascade of synths and haunting vocals evocative of AC Marias, a sepia-toned ode to anxiety, “a storm is on the way”. On No Roses, a Vince Clarkesque production belies a sunburnt sadness. Clifford defiantly sings “you would go out tonight, but there’s nowhere you like,” describing a disenchantment with her adopted city of Los Angeles, she longs for home in a singular refrain “No roses… no roses for us.” An ode to English folk singer Shirley Collins, a surprising yet innate influence throughout Clifford’s work. On Moral Damage, former Veronica Falls bandmate Marion Herbain joins Clifford on an anglo-french duet that feels instant and spontaneous, a cutting comment on emotional accountability. More than a vehicle for Roxanne Clifford’s songwriting prowess, Patience is holding our hand through the night, dancing with tears in our eyes, dizzy and spellbound.

Remastered 6 song mini LP​ originally produced in the
mid-80s *very in-demand with funk record collectors and
DJs worldwide. Featuring ​6 upbeat synth-driven, boogie
funk dance tracks​ *first officially licensed vinyl reissue*
Colours of the Rainbow contains the best 6 tracks from two rare South African LPs by recording artist Bibi
the Kid Msomi: 4 tracks from the ​1985 album Searching​, and 2 tracks from the ​1986 LP What Kind of Love
is This?
South African funk music from the 80s​ has recently gained recognition as ​some of the best funk
productions in the world​; yet so many titles remain virtually unknown outside of South Africa, especially
due to the scarcity of the original pressings (due in part to the destruction of any music perceived as
subversive by South African government censors at the time).
The level of musicianship on these recordings is simply world-class. Even ​Paul Simon​ ​was trying to work
with Bibi Msomi​ while recording his Graceland album in South Africa (read more about it in this ​exclusive
interview​).
Combining American and South African funk influences, these 6 upbeat dance tracks feature ​popular
synths and drum machines of the day​. The subversive lyrics and infectious grooves on these recordings
address the political turmoil during the peak Apartheid years in a way that was just subtle enough to slip
under the radar of stringent government music censors. ​Deep messages of freedom and universal
brotherhood are backed by​ some of South Africa's greatest musical talent​, including:
Mac Mathunjwa (​Street Kids, Neville Nash​), Sello Mphatsoane (​Bayete​), ​The Hot Soul Singers​, Cisco the
Champ Mokoena, Blackie Sibisi (​Step Ahead, Brenda & The Big Dudes​), Alistair Coakley (​Hotline, Stimela​),
Ladysmith Black Mambazo​, Jantshi Mayo (​Sipho Mabuse​), Peter Mokoena (​Pure Magic​), Solly Ledwaba
(​Juluka​), Joey Mabe (​Mahlathini and the Mahotella Queens​), Deborah Fraser (​Brenda Fassie​), Zamo
Mbutho, Banzi Kubheka (​Banjo, CJB​), Cyril Mnculwane (​CJB​), and ​Stimela​ ​vocalists​: Marilyn Nokwe, Tu
Nokwe, Hlengiwe Maphumulo, Beaulah Hashe.
Meticulously ​re-mastered with love for maximum impact on the dancefloor​; we hope you enjoy the
songs contained on this spiritual boogie masterpiece.

Third studio album from French kraut / experimental / psychedelic act Le Réveil des Tropiques after two opus on Music Fear Satan. LP with obi-strip.

After almost 10 years of existence, two studio albums and a series of live recordings, the exploration by Le Réveil Des Tropiques of the psychedelic worlds takes this time the form of a hybrid record mixing recordings from different eras and contexts: scenes, studios, abandoned factory or even in the middle of nature.

Conceived as an experience of multiple lives, the arrangement of these elements by superimpositions or contrasts echoes the different experiences of the soul as well as the encounters that each makes (or re-made) during his passage on Earth and that does not not only due to chance ...

Named in reference to this mechanical device to synchronize several displacements, and illustrated by Valentin Pinel through the reinterpretation of an engraving of alchemists of the seventeenth century, "L'Arbre à Cames" will lead the listener between several grids of readings that he will be free to interpret and apprehend both as a heterogeneous entity and as a single piece.

After presenting Detroit Swindle’s sophomore album High Life in 2018, we felt it was the right time to serve you up a tasty selection of remixes from all over the world and all over the sound palette. We’ve got some dub and boogie from Australia and the Netherlands, classic deephouse from Detroit, dark and dreamy deephouse from the UK and some high energy house from Germany. This set of remixes comes from 5 artists we hold in high regard and have made a serious impact on their part of the scene; some recently and some already a long time ago.

We invited Dutch techno -plot twist alert!- legend Steve Rachmad to come up with a re-interpretation of ‘Yes, no, maybe (feat. Tom Misch)’. His Sterac Electronics remix actually has nothing to do with techno but is an uplifting modern boogie version of the already funky original. Glimmering electronics, some added harmonics and a tight 80’s groove is what this version is all about.

The A2 is reserved for Cinthie, who took the high energy afro funk track ‘Call of the wild (feat. Jungle by Night)’ and turned it into a full on house frenzy with solo’s all around and a groove that just keeps on going and going.

The A side is completed with a remix by Jura Soundsystem, who has impressed many of us with his balaeric influenced synth-boogie, and dub on his own label ‘Isle of Jura’. Here, he chose to remix ‘High life (feat. Lorenz Rhode)’ and has done an excellent job in re-imagining the track into a tamed down, dreamy dub.

On the flip, there’s Matt Karmil’s take on one of the album’s beatless tracks ‘Ketama gold’. He goes in deep with some dusty drums and an arrangement that keeps on building and building, keeping the chord sequence from the track’s outro as a main loop and adding subtle FX, toms and acid hits and a final delivery where electronic cowbells up the energy level by a notch or two.

We finish off the compilation with a moody deephouse re-interpretation of ‘Ex machina’ by Detroit legend Gari Romalis. The twisted machine funk of the original is craftfully replaced by a dusty house loop, dreamy pads and smart usage of the original’s drum effects to build momentum.

This remix package brings a lovely new chapter into the story of ‘High Life’ and we hope you’ll enjoy these reworks as much as we do.
Yours Sincerely,

Maarten & Lars.

As with the first SchleiBen series, Emotional Response follows the success of the second set of split releases with a stand-alone album by one of the highlights, in Neil Tolliday.

Recorded over a 17-year period, the ambient, drone and noise pieces collected here offer a glimpse in to the depth of a supremely talented, thoughtful and at times, troubled musical mind.

As his love for house music and the success of his Nail moniker grew and waned during the ascent 90s boom, there followed his somewhat surprising success as one half of Balearic-pop combo Bent, propelling Tolliday in to a world of indie-charts and endless touring. The eventual unhappiness of this 'music career' and increasing need for personal escapism led him start experiment new musical forms of expression.

A thinker and oft-over drinker, success was viewed with a deep suspicion and introspection, drug use and later, depression. As his other music projects slowly imploded, this new, personal music was for many years, made purely for Tolliday's own absorption and comedowns.

Taken from an initial 4 track recording in Nottingham in 2000, more pieces were subsequently recorded around the globe on numerous devices - old portable cassette recorders, hand held digital stereos and even mobile phones. These heavily manipulated samples were slowed down, reversed, smudged and stretched before analog and modular patching, Mellotron, editing, programming and post production were added to the melting pot.

With hundreds of tracks collated, in the last few years Tolliday began putting them out via Bandcamp using different aliases, on made up record labels, with no press or mention to anyone. This would happen every 6-9 months - a new label was created with logo, band/artist names and a few albums worth of music, leaving it there for a few weeks before then deleting the lot.

Here then is a snapshot of those recordings, chosen to represent the depth of music, while trying not to think too much about in to the emotions that were used in making them. With special hand painted artwork by Sam Purcell, commissioned from the artist's own photographs taken from a adjournment at Homerton hospital, the hope is to do justice to such wonderful music and present Neil Tolliday, finally an artist, shorn of pseudonyms, in a broader light.

FSL008 “Excerpts From Layers Of Identity” brings you a piece of the pie that shows you the deeper and eclectic look into the producer and dj Lee Kelly’s musical styling Chosen from Kelly’s album last year of the same name on the excellent Where The Time Goes, we have picked some more eclectic rhythms and ambient numbers that is a slight change from his well received 12″ on Chicago’s Tasteful Nudes in 2017 but fits right at home with us as it will you. Also includes a beautiful DJ OK remix all the way from Berlin to your ears aswell as bonus beats.

Sigma acts as the sequel to 2018’s critically acclaimed Equals release and features musical contributions from original Alarm guitarist Dave Sharp and

Billy Duffy from The Cult. The album includes the single “Brighter Than The Sun” and as Mike Peters articulates “is a lyric that tries to encapsulate how it feels when someone you

love has survived an immense ordeal and come through to the other side brighter, stronger and more capable than before”. To find strength through adversity

is a capability we all have inside of us should we choose to call upon it. The accompanying video tries to reflect this kind of stimulus and to try and

capture the kind of solar power that emanates from within, the blinding force that stimulates life and everything positive that revolves around it.

Early in 2019 Mike Peters from The Alarm was awarded with an MBE by His Royal Highness Prince Charles Prince of Wales at Buckingham Palace for his

services to charity having raised thousands for cancer care projects in the UK and abroad and dedicating his life to giving hope for families affected by cancer

The Alarm will be heading out on their Sigma LXXXV Tour this summer, taking in 30+ North American dates through July and August, with support from

Modern English and Jay Aston’s Gene Loves Jezebel. Throughout the Sigma LXXXV Tour, Love Hope Strength (co-founded by Mike Peters), will be hosting

bone marrow drives at each concert aimed at finding donors for people suffering from Blood Cancer who need a transplant for a second chance at life

Previous support for Equals from Billboard, Classic Rock, Classic Pop, Uncut, MOJO and more Classic tracks Strength and The Stand were used on the closing

tracks on two episodes of the hit Netflix series 13 Reasons Why, combining for 3M+ streams.

Like a homage to smoke-filled vaults, aging billiard rooms and crumby packets of pork scratchings in the Working Men's Clubs of days gone by, Todmorden-by-way of-Europe trio Syd, Jake and Giulia are about to fling open the doors of their own millennial social hub with the fresh post-punk of infectious debut single, 'Bad Blood' / 'Suburban Heights.'

'We grew up in northern towns trying to get in to pubs in social clubs because that's all we had. The name is an ode to that,' explains Working Men's Club's 17-year-old singer and guitarist, Sydney Minsky-Sargeant. 'Our surroundings and their differences has influenced us a lot on these tracks.'

Joined by guitarist-vocalist Giulia Bonometti, 23 and drummer Jake Bogacki, 18, the trio have always had a clear sense of their whereabouts; quite simply, they wouldn't even exist without multi-nationalism. Meeting at college in Manchester, Syd and Jake are from Todmorden and Hebden Bridge, but their families hail from Poland whilst Giulia moved to the UK from Lake Garda, Italy. 'The songs are based on the culture of walking round Manchester every day then going back to the countryside each night and how the contrast of going back into the hills made us sane,' Syd tells.

Working Men's Club are wise beyond their years as they seemingly offer words of wisdom, to be repeated like some kind of break-up mantra, until everything's ok; 'Be happy when the sun shines / Be happy when the sun rains / You know you should do the same.'

If 'Bad Blood' is the day, 'Suburban Heights' is the night. Recorded with Alex Greave at The Nave in Leeds, steady riffs from Syd's fingers tap-dance on the strings alongside Jake's skill in working a jagged snare. Meanwhile Giulia's heavenly disco 'ooohs' recall Donna Summer feeling the love whilst cutting right to the contentious subject of gentrification. 'Suburban Heights refers to how apparent it is that cities are expanding to hold more people and buildings are rising, they're morphing into these dystopian party towns,' tells Syd.

Already with shows supporting The Wedding Present and Brian Jonestown Massacre behind them, Syd says it's only the beginning; 'Those shows were great experiences and ones we'll have for life. We love making music and we're so grateful for what we've achieved so far; hopefully there'll be plenty more to come.'

Greetings and welcome from Axces. We're a small local Copenhagen community of friends and curious souls. This is our very first record. Alfredo92 and Kasper Marrot run the label, and they've produced two tracks with help from our good friends Carl Emil and Lauge.

The record was created in 2017 at the professional facilities we've come to know as Nordvest Auto. On both tracks, you'll hear a lot of drums, some bass, effects, samples, vocals and sounds from beyond, we don't know how to describe. They've been tested on various sound systems during the past year, and we can ensure you that a flat EQ and max volume will suit the tracks almost anywhere.

We really hope you enjoy our effort. If you should ever find yourself in Copenhagen Axces will provide counselling and guidance at own risk.

Over the last decade, we’ve come accustomed to Jason Letkiewicz releasing material under a dizzying array of aliases, each utilized to explore a different side of his multi-faceted musical persona. Now, some 14 years after he made his recording debut alongside Ari Goldman as Manhunter, Letkiewicz has joined forces with Into The Light Records to release his first album under his real name.

The Reflecting Pool sees Letkiewicz exploring the uncomplicated and uncluttered in the pursuit of pure aural beauty. While his recent album as Opposing Currents was dense, dark, urban and industrial, The Reflecting Pool is stripped back, quiet and melodious. The contrast between the two projects is marked, with The Reflecting Pool drawing more on Letkiewicz’s love of crystalline ambient, slow burn synthesizer soundscapes, early ’80s library music and the kind of obscure electronic new age music that has been a hallmark of Into The Light’s releases to date.

The set’s 12 tracks gently ebb and flow, with Letkiewicz making great use of dusty old drum machines, effects units and a range of vintage analogue and digital synthesizers. It’s a set-up that results in a range of complimentary mood pieces and interludes, from the delay-laden military drums and lilting lead lines of “Out of Body Experiences”, to the drowsy, sunrise bliss of “Sunspot”, the bubbling Tangerine Dream style shuffle of “Mind Awake Body Asleep” and the outer-space atmosphere of “The Kill Fee”.

Throughout, Letkiewicz showcases his seemingly intrinsic grasp of mood, atmosphere and melody. It can be heard within the glacial guitar motifs, occasional beats and elongated chords of “The Reflecting Pool”, the rhythmic bustle of “Numb Drums”, the glassy-eyed melancholia of “Arhythmia” and the cinematic paranoia of “Burning Off The Morning Fog”. It’s also evident amongst the classically beat-less ambient of closing cut “Weightless”, whose alien electronics, effects-laden pulses and opaque chords recall established masters of the genre.

With The Reflecting Pool, Letkiewicz has provided us with a much-needed dose of stress-free musical escapism, at the same time offering hope that in these troubling times, love may still save the day.

Following the mighty rendition of "I Want You", Soul Sugar (a.k.a. Guillaume 'Gee'
Metenier) is back with another massive Soul-Reggae version, this time taking on Luther
Vandross' "Never Too Much".
Fearlessly taking on such timeless classics is serious business, and Leo Carmichael
delivers, once again, with a maximum dosage of finesse and feeling. Seductively delicate
backing vocals from Carl Lee Sharshmidt and Karene Brown keep it as warm and
intimate as one would hope, while Thomas Naim's tasteful guitar licks and Gee's minimal
production allow the song to breathe and flow steadily on its own.
Recorded in Paris, Kingston, Miami and London, the resulting blend of Soul and Reggae
riddims has rarely felt so natural. On the A-side, Gee's "Discomix" dubs a generous dose of
the sultry backing vocals over a minimal, bassy groove that dips, dives and flows on into the
sunset. UK producer Adam Prescott lets loose with an infectious 90's dancehall rerub,
aiming straight for the dancefloor... ladies' choice! Finally rhythm legends Sly & Robbie
drop the BASS with a heavy dancehall treatment, taking it low, letting it ride, while the
vocals float on... Never Too Much!

Hailing from the heartland of British techno, Sheffield’s John Shima is one of the leading lights of UK electronics. His beautifully crafted sounds have graced a host of imprints including Distant Worlds, Exalt Records and, of course, FireScope. It is to the latter that Shima returns with his long awaiting debut album, The Lonely Machine.

John Shima is a master melody weaver, with this first LP attesting to his deftness of touch. Celestial chords and star gazing synthwork permeate this ten track odyssey. The musical heritage of Shima’s hometown, the elegance, majesty and subtlety of British electronics, is invoked from the needle drop. A range of influences come to the fore in this 2LP. Skirting around the edges of astral ambience and tonal texture are nods to industrial history, the rasp and resonance of rhythms in “Empires”, with the inspiration of Detroit surfacing in the future funk of “Phase Distortion” and “Linear.” Dreamscapes are painted in delicate hues, the fragile movements of “Accepting”, with brooding works adopting thicker basslines and ruffled notes as with “Distrust.” Nevertheless, it is the incandescent brightness of Lonely Machine that truly shines. Radiant pieces of elating electronics, complex and joyful compositions that chime with unbridled hope and open-hearted optimism.

La Danza del Agua" (The Dance of Water) is an eclectic musical journey through Latin American experimentalism - a sort of unofficial companion to the Anthologies of Atypical Portuguese Music volumes but focussing on South American music themes instead.
Originally released as two volumes on digital and tape versions on Papaki Records (2017, Argentina), this new concise edition presents 12 of the original 38 artists. Not to be seen as exhaustive document representing the wide styles of the even wider continent, it hopes to showcase some of its more marginal music with artists from a variety of countries such as Argentina, Mexico, Peru, Bolivia & Venezuela.

As such, this compilation shines a wider light on new and exciting sounds from the vast continent with a wide range of styles such as digital cumbias, sound experimentation, freak folk, noise, exotica, danceable beats and much more, mixed together to give life to the continuing strange world of contemporary South American experimental music.

A logical continuation of our New Weird South American explorations after releasing works from Meridian Brothers, Romperayo, Chupame El Dedo and a tape batch on Sucata sister label featuring Panchasila, Los Siquicos Litoraleños, Bardo Todol, Tomás Tello and more.

Here we go with one of the most valuable records in the steaming pile of Bogwoppas. This one was bootlegged a couple of years ago from dodgy Youtube rips. So we thought we would go all out on an official reissue for you. Sadly the DATs were long since lost in the midst of time. However a NM copy was sourced and a small fortune spent on restoration. The guy who does the restoration usually works on African Jazz music on Shellac records. So he is used to doing his magic on much worse audio. The upshot of the restoration is the 4 tracks sound almost as good as the original masters. Bear in mind it's a 25 year old record with all the crackle and pop that goes along with that. We've tried to polish these turds without ruining the original vibe too much. The audio samples are the masters we used for production so you can hear them before buying.

Sorry this one has to be a couple of quid more as we shelled out a small fortune on the restoration. You know the score if you want the original though. So hopefully you're not too miffed!

Worst records is proud to present the third release of its growing catalogue. Unlike his
alias could evoke, Christian Coiffure is not so much specialized in online hairdressing
tutorials but has a fierce passion into brushing serious quality tracks. « Un Nouvel Âge
Réminiscent » hits hard with its progression into sharp and colorful forms, never bound to
redundancy. From slow EBMish , industrial tainted marching anthems of « A New New
Hope » and « Slowly Merging Into One » to synth-infused acid railroads built for futuristic
Trance Europe Express trains in « Révolutions Synchrones » and « La Dernière Volonté
des Atlantes », everything functions as a toolkit for imagination. Add to this a breaky
andrefreshing post-dubstep turn on « Biosphere is Reborn » alongside a delicious
headshot surprise on digital bonus with « Pouvoir Lacrymal Renforcé », and you will
never see the word « coiffure » the same way again.

"I love it. SO beautiful"
Josh Rosenthal [Tompkins Square]

Songs For A One-String Guitar is the debut instrumental acoustic guitar LP from Jonny Dillon. Better known for his analogue electronic music productions and all-hardware live sets under the ‘Automatic Tasty’ moniker [Lunar Disko, CPU, Wrong Island], Jonny’s records (bearing heavy acid and electro influences), along with live appearances at venues like Berlin’s Panorama Bar and Kiev’s Closer belie the fact that he has been quietly exploring the musical landscape of the guitar for nearly twenty years.

Recorded as a series of sketches over the last 10 years, Songs For A One-String Guitar represents a snapshot taken over a long exposure; one individual’s private response to a variety of currents and inspirations both musical and emotional. While informed in large measure by the world of Irish traditional music and song (of Sweeney’s Men, Planxty and Seán Garvey) along with that of primitivism and the American Spiritual (of John Fahey, Hank Williams and Mississippi John Hurt) these songs are equally a personal attempt to give expression to an inner landscape, from the experience of sorrow and loss to the promise of redemption and renewal.

The LP opens with ‘Turning Invisible In An Imaginary Rose Garden One-Evening’ a contemplative piece played in free-time; “I’ve been playing this piece for years, and it’s gone by so many different names in that time. It’s a sort of shoe-staring daydream, to my mind at least. I want people to disappear when they hear it, and think it suits the LP to open up slowly and reflectively”. While a contemplative strain underpins some of these songs, others are informed more directly by the experience of grief; “I wrote ‘A Requiem For Joe Dillon’ at the death of my uncle. He used play lots of wonderful songs of his own at family gatherings when I was a child, and while a very gifted and sensitive soul, was also troubled by his own demons. The last time I saw him alive was at my family home with my father; I was going out to see some friends and Joe called me back, gave me a hug and made the sign of the cross with his thumb on my forehead, to bless me. It still chokes me up when I think about it. A song of his ‘Light A Penny Candle’ I included to finish the piece in his honour.” A sense of longing and hope is present in other pieces; “Songs like ‘Again But With Feeling This Time’ and ‘Start Again (Carry On)’ come from a sort of hopeful yearning feeling which is always within me; a melancholic sort of joy in search of redemption. For me, music has the strange capacity to express contrary positions simultaneously; to console, redeem and offer transcendence while also expressing suffering and pain. I don’t know what any of this means, but feel as though I’m trying to find my way home by writing the same song over and over again.”

Songs For A One-String Guitar may seem to represent a departure for those who know Dillon for his electronic productions alone, though the reality is that these songs merely represent a new opening onto an old landscape; they are an invitation to more fully share in one individual’s yearning to find meaning through creative expression. “These songs are very personal to me, so there’s a certain nervousness in my seeing them released. I hope that they prove of some use, and that they do some small good to those who hear them.”

For Against Fascism Trax 006, Auntie Flo takes us to Brazil, a country that is dealing with having a bona fide fascist president, with an EP recorded in Rio De Janeiro. I’m going to shut up and let Afonso Marcondes from Sao Paolo take it from here -

In a world in which culture policies (incl. music) win nationalist tones, Brazil has lessons to give with the catastrophic failed experience of the last government and the teletubbies talk on Culture from the current one.

As one sometimes feel as if one is on a time-warp from time to time, most often taken there by music, songs like March of The Berimbau here, could easy make for the perfect soundtrack for the political history of Brazil, country in which Auntie Flo got his inspiration and recorded this tracks.

From the military regime that gave Brazil bossa nova in the 60’s, the tropicália sounds of the 70’s to the pop rock era of the 80’s all the way from the rave scene of the 90’s to todays Bahia Bass, music in Brazil has always been instrumental in helping shape the political scene.

One thing about the Brazilian music ’scene’ is that rarely it lends itself to extreme political views, via lyrics or otherwise, after all, carnaval must be kept a happy time! The number of different cultures living in peace, side by side in Brazil has strenghten the country disapproval of hate talk in music since I can remember growing up in the interior of São Paulo state.

As per wiki: Fascism is a form of radical ultranationalism, characterized by dictatorial power, forcible suppression of opposition… Children bedtime reading if you follow the past 15 years in Brazilian politics and the rise and fall of Brazil’s Labour Party, together with its disastrous polices on culture and synergy with de definition above; including the views of a important cultural Party branch that continuously 'preached' that Authors should need no rights over their works. That couldn’t bit music in Brazil.

Fast forward to the first 5 months of government of an unfortunate retired army officer, whose every word sounds like Trump, and whose views on culture is to extinguish the Culture Ministry and cut low the state incentives to the sector, that, so far, is not bitting music in Brasil.

Hope that Auntie Flo’s music inspired everyone as the place where it was made and recorded inspired music in Brazil, as a beacon of light against any hate talk darkness.

* The third release on SLEEVE fearlessly defies doubt-both internal and external-and continues its self-assigned mission forward. This last EP in the trilogy by STRIPPER™ completes a foundational artistic statement defined by it’s auditory, visual, and physical presence, with each piece playing equally an important part. The underlying theme of the EP is defined using a lexicon of atypical beat patterns and deep atmospheric textures. 

“Personal Nightmares” and its corresponding Farron remix explore two deep emotional extremes: from sinking hopelessness to the manic commitment to self-resurrection. “Clairsentience” is a cavernous journey that allows little for the listener to hold on to: there won’t be any guide ropes here. The final track “No Vision” is built around a snare reminiscent of a surgical scalpel, but is otherwise deprived of a musical theme. It’s only purpose is to cut through swiftly and efficiently through the listener’s mind.


* This is a physical release of a four track EP. It contains music tracks intended for social settings. Suitable for DJ Sets of varying styles in the range of 125 — 135 BPM. The material presented here is also available digitally.
All tracks produced, mixed, and stripped by Stripper™ using digital synthesizers and sequencers.

2019 is mule musiq’s 15 years anniversary. we’re going to release twelve 12inchs with our friend artists and stefan marx make the collectable artwork. eighth release is a japanese brightest hope iori’s debut release on mule. we wanted to add new japanese artist for this anniversary release series, then we remembered we liked his release on phonica. a side is his trademark deep hypnotic house tune and b side is more dubby and psychedelic. hope you enjoy!

Pelican, the instrumental quartet whose singular vision of heavy music eschews classification, have announced their first full length in six years, Nighttime Stories, is due June 7th via Southern Lord Recordings.

The eight-song set marks the band’s first release written front to back with guitarist Dallas Thomas, who took over guitar duties upon founding member Laurent Schroeder-Lebec’s departure in 2012. In the process of writing the album the quartet endured a slew of realisations, tragedies, and glimmers of optimism that guided the creative process to the most potent work of their nineteen-year career.

Though the new material veers towards the darker tone characteristic of Pelican’s early songwriting, it’s hard to imagine a previous incarnation of the band writing songs as meticulously crafted and detail-oriented as those within Nighttime Stories, where the compositions recall everything from the triumphant call-to-arms of classic Dischord, to the vicious troglodyte battery of the Melvins, to the dynamic interwoven melodies of bottom-heavy indie cult heroes Chavez.

Nighttime Stories was an album title initially proposed for Tusk, the hallucinatory art-grind band that included Pelican members Trevor Shelley de Brauw, Larry Herweg, and Schroeder-Lebec, in addition to vocalist Jody Minnoch. The writing of Nighttime Stories was instigated shortly after Minnoch’s unexpected death in 2014, and some of the dissonant viscera and dark psychedelic structures that were characteristic of Tusk’s sound began to unconsciously inform the album’s direction. In homage to their departed colleague, Pelican applied the previously discarded title and pulled many of the song titles from notes Minnoch had sent to inspire the direction of the unrealized album. As the writing of Nighttime Stories progressed Thomas also experienced a heavy loss with the passing of his father, to whom the album pays tribute on opening track “W.S.T.” (on which Dallas performed his guitar parts on his father’s Yamaha acoustic).
 
Pelican have always excelled at vacillating between the savage sounds of various niches of metal underground and the more delicate and nuanced sounds of Midwest’s cerebral indie community, proving that they can make either end of the spectrum more vibrant and compelling through the art of contrast. With Nighttime Stories, the pendulum has swung back to the angst and ire of their younger years while delivering it with the nuance and wisdom that’s come with nearly two decades of writing and performing. Pelican head out on a ten date US tour in June with more dates in the works for later in the year (see dates below).

JakoJako makes her debut on Leisure System with Aequilibration, an EP of diverse, experimental tracks aimed at the dancefloor.

In F22.0, waves of paranoia break over driving, asymmetric rhythms, offset by soothing, whispered vocals. Kogn. Dissonanz maintains the tension, making clever use of polyrhythms and blasts of machine gun fire. The B-side takes a more hopeful turn with Resilienz, where warm oscillations cluster around a simple but effective groove, and the restrained cries of Katharsis close the EP with powerful intimacy.

Self-taught and primarily a live performer, JakoJako makes extensive use of modular synthesis in her productions and on stage. ”Depending on how you configure your system, you can design a completely different instrument every time. I love when it’s surprising me.” When not in the studio, her expertise is put to use advising well-established artists on their own systems at Berlin’s synth-mecca SchneidersLaden.

'Mallumo' is the introspective and therapeutic works of Nottingham born musician, producer and composer Neil Tolliday.
Known to most simply as Nail, on this his first solo LP under his given name, Tolliday releases four meditative dark ambient pieces recorded between 2010 and 2015 that explore the depths of his psyche.Made as a direct response to a period of clinical depression this self therapy gave birth to soundscapes that branch between hope, tranquility and torment as a man searched for solace through sound and his own creativity resulting in the listener being taken on a heady ride through their own subconscious mind. Limited to 300 copies, this 180 gram double vinyl LP comes with your own Utopia Project incense and a download code for the full hour long versions of each movement.
Cover photography shot and printed by Michael Bradley, Design and curation by Alexander Bradley for Utopia Records, London 2019.

Born in 1949 in Recife (Brazil), Roberto De Melo Santos, despite a very light discography, is among
the true icons of the Brazilian Soul music under his artist alias, Di Melo. He’s indeed only needed an
eponymous album, released in 1975 on Odeon, to assert himself as a star in his native country, but
also as a legend for all collectors and connoisseurs of the world. More than 40 years after its release,
this famous album sells for several hundred euros in its original version, and even for the few
reissues that were offered. Not very active since then, Di Melo however returned in 2016 with the
album O Imorrível, released on the Brazilian label Casona Produções.
It is then that a year later, came a meeting with the French group Cotonete, that Florian Pellissier,
founding member and keyboard within the band tells us about: “On tour in Brazil with Cotonete, we
had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or
band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but
Rafaela Prestes our Brazilian "sound ingineer/genious" told me she’d worked with Di Melo for his
recent comeback and gave me his number. No sooner said than done, as I'm a huge fan of Di Melo.
The next day he arrived at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in
front of us and gives us a private show of 3 hours… we cried the tears of joy. He had 400 original
songs never recorded, a gold mine. On the same night, we started working the arrangements for 2
days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the
magical Epsilon B studio. This album is the summary of this moment, of these 5 days of madness
spent together between “the best band in the world” and the legend Roberto Di Melo… Simple,
beautiful, Brazilian-French, human music…”
Today, Atemporal found its final version in collaboration with Favorite Recordings and is proudly
presented as what we believe will become the genuine long-awaited follow-up to the classic Di
Melo’s LP.

Civil Disobedience's seventh and debut vinyl release welcomes Polish artist, TAKA, to the family. TAKA presents 1610, an exceptionally personal and moving collection of music written and produced during a period of coming to terms with her father's passing. In her own words, "I began to feel strong again when I was creating this music." This is an EP where emotions of the darkest and lightest kind dance together.

TAKA executes her story in rough and ready beats, quirky and randomised percussion, with intense and emotive leads progressing throughout each track.

Entrusted to remix such precious material is TAKA's friend, Gareth Wild, who has crafted a signature heavy duty techno destroyer of "Cry Cry. "Cry Cry" especially promises to leave its mark on listeners, its leading chords are a raw melodic masterpiece, underpinned with a pummelling bassline. This piece of music penetrates the soul, awakens the subconscious, and leaves you radiating with profound hope and knowing. Those who hear it do not forget it.

Under the alias Ciel, Xi'an-born/Toronto-based producer, pianist, DJ, and Discwoman affiliate Cindy Li embodies the social conscience of progressive electronic music. She is at once a local and global artist, having flourished at the fringe of cutting-edge club culture since 2015, firmly rooted in her adopted city while reaching increasingly outward, her sets echoing from Berlin’s Berghain to Chicago’s Smartbar to Lisbon’s Lux Fragil. Back in Toronto, she co-runs the label Parallel Minds and event initiative Work In Progress, an extension of her radio show in both name and M.O. to improve female representation in the scene. She’s helped write safe space policies, hosted DJ workshops, and applied activist pressure on promoters through varying methods with a single-minded resolve. Those efforts have evoked responses, which Li has spent time reckoning with over the past two years. Now, manifesting as a self-guided reaction to her experiences as an artist and activist is Ciel’s Spectral Sound debut, Why Me?, a deeply personal and physical work.

Ciel’s stylistic pocket as a producer remains that of “soft-touch slammers,” but fans will note the material on Why Me? hits harder. “I wanted to write something that was heavy,” she says of the title track, the result of processing the noise leveled at her specifically after she amassed a database of female and nonbinary talents to highlight the lack of bookings amongst a subset of clubs in the community. “I was dealing with a lot... anger, despair, paranoia, feeling unjustly targeted.” She channeled these antiphons into her art. The cut’s namesake is sourced from the foregrounded sample, a snippet of dialogue from an old film about a man who believes he’s been abducted by aliens. Pulsing metallic drum patterns steer through the hypnotic passage; permeating beneath the beats are lush pads, washing the rattled urgency with unease.

Hardware-built tracks “Go Fish” and “Uri’s Song” came together over studio time with friend and occasional collaborator Colin Sims aka Wiretapping. Ciel brought her sampler to the sessions, with Sims contributing additional drums, which she’d arrange further at home, adding synth parts and basslines and effects, distilling it all down to its most potent core. The latter track — an effervescent minimal techno exercise both tender and tough — expresses Li’s reflections on today’s cyclical conditions for activism, dissension, and, ultimately, optimism. “These are harsher sounds but they also have elements that are really beautiful about them. I wanted to communicate that nothing is permanent, that there’s always hope for understanding and resolution.”

READ CAREFULLY Blistering hardcore punk meets visceral drum and bass. Blastbeats, breakbeats, amen beats and kickdrums. A pure and perfect clash of styles and cultures, born from the same fiercely DIY, anti-authoritarian spirit that has shaped extreme music throughout the decades. This one goes from faster-than-the-speed-of-light-drums with screeching, feedbacking guitars to stomping 220 bpm dancefloor smashers on the flip of a coin.

Five tracks, two guitars, one bass guitar, one drumset, a fuckload of beats and synths. If this sounds too good to be true, that's because it is. We don't know what to tell you, this has never been done before.

For fans of: Minor Threat, Negative Approach, oldschool Amen infused Drum & Bass

Having previously collaborated with the likes of Shafiq Husayn, Chester Watson and Foreign Beggars, electronic space funk outfit Paper Tiger return from an explorative journey to the dark edges of the cosmos with their long-awaited third album ‘Rogue Planet’.

The Leeds and London-based outfit (whose collective playing credits include Yellow Days, Werkha, Nubiyan Twist, Cinematic Orchestra & more) once again seamlessly combine elements of live recording and improvisation, their emphasis on blending organic sounds with electronic production techniques. The result is music which is interesting and technically proficient, but remains vibrant, colourful and funky -captivating both in headphones and on the dancefloor.

Just like the journey from debut long-player ‘Laptop Suntan’ to sophomore album ‘Blast Off’, and in-keeping with the band’s space travel fascination, ‘Rogue Planet’ is a cosmic leap from its predecessor. Band leader Greg Surmacz explains: ‘There is still humour and a sense of playfulness hopefully -largely provided by our MC Raphael Attar -but the overall sound is much more lush, jazzy and soulful. We wanted to make something that fits into our universe but hits a deeper emotional nerve’.

With diverse guests ranging from the legendary Steve Spacek on lead single ‘The Cycle’ to Olivia Bhattacharjee (the vocalist of Gondwana Records-signed Noya Rao) on the shuffling, leftfield beats of ‘Bioluminescent’ and Chicago-born but LA-based MC Lando Chill’s quick-fire delivery on the ironically titled ‘Slow Motion’ the album is a rich and varied listen. It’s a record drenched in futuristic soul, brimming with textured samples and intriguing progressions demonstrating the enviable musicianship on show here. G-Funk-esque melodies run throughout, joined by reverberating celestial horns and scattered drum patterns.

Electronic Body Music, abbreviated as EBM, is a term whose origin stems from the Belgian group Front 242, chosen to describe their electronic music; cold and dancing, free of the dominant influences of the time. Powerful, cold and minimalist electronic rhythms were the hallmarks of this new genre.

The movement quickly garnered followers with the British group Nitzer Ebb but also in the rest of Europe, with the likes of Borghesia and The Neon Judgment, later signed to labels like PIAS, Antler- Subway, Wax Trax!, Mute, Off Beat, Zoth Ommog, Pendragon and Metropolis.

EBM’s popularity grew rapidly in the underground scene during the 1980s and early 1990s, especially in Europe, before breaking through in the rest of the world, also influencing the subsequent electro-industrial scene.
‘Dancing In Darkness: EBM, Black Synth & Dark Beats From The 80s’ - to give it its full title - is a compilation of some of these bands; bands that changed contemporary music in terms of ideology, politics and aesthetics.

CD version in digipack with poster booklet. 2LP version in gatefold sleeve.

French modern-classical quartet astrïd return on May 10th with the first part of a new release entitled A Porthole.

Conceptually the two records work in unison, focusing on portholes into the abyss, with part one delving into the depths of the deep sea. The tracks are named after various strains of seaweed, the artwork depicting dark waves and uncertainty. Part two will follow in a years time and will turn its attention to the night sky and constellations.

A Porthole continues astrïd’s signature style of billowing guitars, strings and woodwind. Each element intertwined with another, linked perfectly together through restrained jazz-tinged percussion. 2017’s highly-acclaimed release ‘Through the Sparkle’ with renowned pianist Rachel Grimes (of Rachels) set the bar extremely high for this release but astrïd have matched the depth, melody and quality of that record here.

Part one of this journey features some sublime compositions with Cyril Secq’s expressive and bold guitar playing carrying the pieces into chamber music territory, joined seamlessly by a variety of other instruments that swell and soar and fit perfectly into the story being told. Everything seems to have its place, nothing is overplayed or out of step here, there is an organic nature to the way this quartet plays and interacts with one another as melodies circle back and fade away in the same beautiful breath.

A Porthole is a deeply charming record, exercising glorious, nuanced refrain and offering a sort of hope rarely found in music these days.

• Aqua blue vinyl - limited to 300 copies w/ download code

• The album was mastered by Harris Newman (Godspeed You! Black Emperor, Tindersticks etc)

• The artwork is extracted from an original one of a kind monotype print by Gizeh overlord Richard Knox.

Quintessentials has a long history in putting out those nice little (or sometimes big...) compilations. It was 'deep, raw and real". Then 'thank you freaks". After that 'gentlemen cuts". Now it's 'enjoy your cuppa"! Vol. 1 starts with 4 new and refreshing faces on Quintessentials. Marc Bianco is for sure no newcomer, as he's a part of the famous Moonrise Hill Material crew with Folamour and other top french producers. 'Wet Scott' is a smooth yet freaky tune with tight beats in a best MB manner. For german Effgee, 'feels like ding' is his first track ever released. Happy lad! And we're sure it won't be the last. Italian air man Wearing Shoes is quite new to the scene, but has a quite impressive list of releases already. For Quintessentials, he teams up with...well yeah, Javonntte (check his two Quintessentials releases, 59 and 61). Proper house music guaranteed! Last but not least, Roy Vision (another french artist who just released on Roots for Bloom) goes deep and dusty, with lovely Rhodes and snares! We hope you enjoy your cuppa!

Heist is first and foremost a label dedicated to quality house music with an eccentric angle. Promoting great music from the Netherlands comes as a close second. After presenting a lot of notable artists from our country, it’s great to showcase another young Dutch talent with our latest release: Perdu.
You might know him from his solo debut on Let’s Play House or the follow up on Optimo Music last year. Perdu’s music gets played by the big ones in the game like Hunee, Optimo and Palms Trax to name a few; and obviously, by us. We’re proud to introduce you to his “Skye EP”. His new release includes 3 varied originals and a rave anthem made by none other than our fun loving Ozzie friend DJ Boring.
The A side kicks off with “Jane’s World” and is the track that made us fall in love with this EP when we heard the demo. It’s a worldly tinged house monster, filled with harmonized drum rolls, a counting Frenchman and a funky arpeggio for good measure.
“Sacramento” takes a more introverted approach, leaning on a broken beat and atmospheric pads. The consistency of the kalimba with the vocal gives it a certain swing that got our ears longing for more.

The B-side starts with “Morbid”, a life-affirming electronic anthem, where Perdu shows his mastery of creating a proper build up. Over the whole course of the track, there’s a lead that slowly but surely opens its filter. There’s bells, harps, hand percussion and rides that all build up towards a lovely climax towards the end, while the track never feels like it’s forcing itself upon you.
Where the 3 originals are all, to some extent, quite introverted and modest, DJ Boring’s remix is anything but that. His version of “Jane’s World” is all about ravey leads, powerful percussion and huge breakdowns, which will do wonders at any festival or club closing set.
We hope to pleasantly surprise some of you, and as always, make a musical impact on your moment in the club, at home, or wherever it is you enjoy the music of our new Heist release.

Yours Sincerely,

Maarten & Lars.

Erstmals Auf Vinyl: Das Debütalbum Des Synth-pop-trios Gunship Aus 2015. Exzellenter 1980er Retro-sound Aus Analogen Synths, Cineastischen Vocals Und Cyperpunk-attitüde, Mit Einem Feature Von Horror-meister John Carpenter Höchstpersönlich. Exklusiver Bonustrack Ist Der Gunship-remix Für Lionface "no Hope State" (2017), Der Hier Seine Erstveröffentlichung Auf Tonträger Erfährt. Für Fans Von Empire Of The Sun, Mgmt Oder Röyksopp.

Two Sided Agency's third release delivers four rolling techno and acid work outs for sweaty basements and concrete dance floors. The full sleeve artwork expertly executed by New York artist Alex Heir completes the release after a one year hiatus. Two Sided Agency consistently maintains the quality of it's nuanced output. Direct and full of energy, acid lines and pure groove instantly captured the listeners attention. We are excited to present you our most recent four track EP and hope you enjoy the fruits of our hard labour. Thank you for listening!

"kiska" Is The Lead Single Off Kedr's Sophomore Release, Your Need. The Album Is A Celebration Of Life And Rebirth. It's About A Fighter's Spirit, And If You Will, A Little Audacity And Courage. Dj'ing And Early Forms Of Dance Music Inspired A Furious Burst Of Creative Energy After Months Of Melancholy, Sadness And Reflection To Record The Album In Only A Matter Of Weeks. After Her Breakout Album, Ariadna, Which Put Her On The Forefront Of Russia's Burgeoning Electronic Scene, Kedr Felt Lost With Her Identity And Was Searching For The Direction Of Her Next Chapter. For A While She Felt Trapped By Her Own Image And Needed Quite Some Time To Resolve This Internal Dissonance - To Grow, To Evolve. Dj'ing Was The Main Catalyst To Pull Her Out Of This Rut. The Art Form Shifted Her Inspiration To Mainly Old School Styles Of Dance Music: Ghetto, House, Breakbeat And Uk Garage. For The Prior Year And A Half She Was Listening To Ambient, Kraut-rock And More Experimental Genres - One Can Hear The Brighter, More Energetic Influence Of Early Electronic Music In The Songs On Your Need. One Day She Was Talking With Her Friend Flaty (zhenya), A Very Talented Artist From St. Petersburg Who's Signed To The Gost Zvuk Label, And They Decided To Do A Single Together. He Came To Visit Her In Moscow, But They Ended Up Spending 10 Whole Days Writing Music Together, From Dawn To Dusk. They Vibed Off Each Other's Musical Ideas Perfectly And Understood Each Other Even Without Speaking. Zhenyais A Beatmaster And Pays Attention To Even The Smallest Details Of A Track. He Brought Incredible Richness To The Composition And Kedr Considers Him Her Teacher In This Area. Kedr Was In Charge Of The Melodies And Vibe Of The Tracks, And The Vocal Elements. Your Need Is Like A Chapter Of Life. It's A Story That Illustrates Different Scenarios And Moods That Our Mythical Hero Experiences, Living In An Urban Jungle. From Lost Love To A Bad Trip On The Dance Floor, From Euphoria To Deep Introspection. Our Hero Sometimes Feels Bold, Lost Or Devastated, But Also Tender And Full, Like All Of Us At Some Point In Life. The Ending Is Joyful And Bright. The Last Song Gives Hope And Faith That A New Day Will Come And Wash Away The Old. You Can Feel Like New Every Day. Your Need Reflects An Array Of Genres And A Mix Of Cultures - A Harmonious Combination Of Differences. Everything Kedr Loves About Ghetto Music, In The Traditions Of House, Dub, Breakbeat, 90s Electronic Music And Modern Sounds - She's Embraced And Expressed It All Throughout. Your Need Is Kedr's Ode To Music From Different Eras And Changing Periods.