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Originally released on Illuminated Records in 1983, "Viral Shedding" is surely one of the most important references for the industrial/funk dance music.

Between pure noise and electronic beats, 'Viral Shedding' is creating a twisted and percussive rhythmic urge, a funky disco sound permeated by digital industrial beats. Nigel Ayers and Caroline K take their inaccessible best and thrown it into the melting pot with a set of pumping rhythms. The result is the frustrated son of mutant disco, swimming in the same waters of Cabaret Voltaire, 23 Skidoo, Tackhead, Meat Beat Manifesto and Hula.

As Nigel Ayers recalls, "Popular music picked up on what we were doing 1983-1984, which helps explain why records such as -Viral Shedding- sound clubbier today than they did at the time, but the technology of music making locked in a seat of aesthetics in those days that shaped pop as a whole more than industrial music itself did. Whether by synthesizer manufacturers' musical design or through engineering limitations, the more automated a band allowed their music to become, the dancer it was likely to be."

Features the classics 'Suffering Stinks', 'Going Under' and 'No Separation'.

ANT ANTIC is the singer, multi-instrumentalist and producer Tobias Koett - originally from Austria, currently based in Berlin. On stage, he's joined by two musicians on drums and synthesizers to form a full live band. His signature sound: melancholy wrapped in contemporary R&B. Distinctive vocals that will stay with you forever, driven by a solid backbone of avantgarde beats of incredibly high-level production. Outside of conventional pop song structures, his latest single Whoop! blends stripped-down four to the floor aesthetics with an analogue approach to sound design. The result is as emotional, honest and relatable as it is catchy. Whoop!

See Through is a new collaboration between Aidan Baker (Nadja), Faith Coloccia (Mamiffer, Mara, Sige Records) and renowned percussionist Jon Mueller.

The project was brought to life through Baker exploring textural rhythms created by sampling small, sharp and abrupt sounds on the electric guitar and then sequencing them in a drum machine to form the bedrock of the tracks. Mueller then added his particular, signature brand of intricate, hypnotic percussion to the mix and the compositions began to grow and take shape. The pair agreed that the pieces needed a more human touch and Coloccia was invited onboard, contributing processed vocals via looping, tape manipulation and microphone feedback.

The result is an other-worldly record that seamlessly flows from beginning to end, immersing the listener in waves of ambient movements and soporific beats. There is a trance-inducing aspect to this work, deserving to be consumed in one sitting and allowed to manifest itself for the duration. The trio have crafted a piece of work that stands up to the quality and integrity of their combined back catalogues and indeed adds something completely new for fans to discover and devour.

UK Garage. Dubplate's. Persian. Breaks. Matrix. Riddims. Existence Is Resistance. Vibe. Old Skool. Dub. Shuffling. Bass. UKG. Bleeps. Groove. Love Song. R&B. Lost Words. Artist Formally Known As P.P. Undeground. Soul Singer. Smooth. Nicola Duncan. Archive. Nu Skool. Classic. Broken Beat. Persian Prince. Deejay. UK Funky. Same People. Bass Music. Garage. Pirate Radio. Beats. Unearthed. Vinyl. BreakBeat.

F-Dorm is a collaboration between Connor Camburn of Litüus (AVIAN), and visual artist Conor Ekstrom. Commune follows the first F Dorm cassette on Mazurka and presents the first LP by the project. Songs build upon unexpected repetition, wielding normally aggressive sounds into meditative loops with subtle textural evolutions. Bursts of tape saturation, controlled waves of feedback, and linear drum beats shift and weave together through rhythmic delays. Affected vocals speak low as if coaxing the listener further out into the nether regions of the mind. The strange cumulative mood of the record is difficult to describe: A transcendental state or a foul parallel from which the listener arises stronger or does not arise at all. mummies in civilian clothes -the master of the riddle-a DOLLMIND haunts me in the penitentiary -the puttyman, naked inside -a mind made of cream

After the praise for Morning Worship, released back in 2015 on Royal Oak, Portuguese duo Sabre returns to releases with the EP "Fora de Turf", pointing directly towards the dance floor. There is in "Fora de Turf" a certain idea of transient existence as a series of car journeys cruising the night with no clear sense of direction, recalling the gradual disappearance of public space and loss of community. The weight of Kraut references such as Kraftwerk's Autobahn or Stratosfear by Tangerine Dream is somehow clear in its alignment with a 1995 Carl Craig who had just released Landcruising

On the A side, 'Condor Sense' and 'Sem Terra'. The first one is a banger built around broken beats and repetitive synth chords that guide us through the drone landscapes on the background, very clearly marked by the 808's rhythms. The second one is anchored in a broken kick and on a growing acid line, punctuated by warm chords and some sliced pads that reminds us of the pulsating heart of the city of Detroit.

On the B side, "Condor Senses" and "Driving Bruno" got some sort of a gliding character. "Condor Senses" is the only track on the EP to accept the classic four-on-the-floor to guide some dubby chords along a quieter landscape where organic and natural sounds lurk. Is it dawn arriving No. On the last track of the album, "Driving Bruno," Sabre get in the car and step on the throttle, full speed, on a bassline that could resemble some synthwave releases if synthwave had been lucky enough to be born a decade earlier and in the center of the state of Michigan.

Bucharest Techno Traxx Vol. 1 - the new series on The Model's own imprint Adult Central. Bridging the gap between classic underground and contemporary sound, the brand new 4-track EP compiles 4 no-nonsense, banging tracks meant to move any techno floor. From pounding beats and acid sounds to dark pads and hypnotic hooks, this record packs serious power and finesse. A multi-faceted techno record that showcases the genre's multiple possibilities.

Fix Me is a techno symphonic soundtrack of the collaboration between the choreographer Alban Richard and Arnaud Rebotini, dandy of the French electro and César 2018 of the best musical composition for the film 120 beats per minute.

Interested by the sound energy, Alban Richard conceives a piece that draws its power in fervor. Eloquent bodies, sermons and slogans, this choreographic, musical and plastic montage is exhilarating. The four performers translate their actions into words: American evangelical sermons, political speeches and feminist hip-hop songs. The light worked on a vibratory mode bathes interpreters and spectators in the same hypnotic halo.

Driven by an incessant flow, music and dance interfere each in the sphere of the other and compete with energy to monopolize the eyes and listen to the audience.

The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

For those who will know Baggy Leggins for previous release 'Expensive Sheeeeet'
& 'Disco Lando' this put together Hand Stamped 7" press will pop your joints, the
run is 300 copies hand stamped.
Side A.
Mondo Disco
Heres a fury filled foundation of bongos, beats and bass, with layers of rolling piano
and hypnotic movement of brass, giving nothing else but good time vibes for the
dance floor with plenty of outro for any discerning DJ.
Side B.
Bug Wax
Rewind for vintage 70's retro kitsch ditchsco , rhythmic bass guitar, enchanting flute
and swirling strings, sprinkled with subtle vocals and hints of electronic glitch over a
pumping beat.

Napolitan Techno DJ and heavyweight producer Davide Carbone releases on the French Rave Or Die Records for the very first time! Multiplying records and collaborations just like Mike Tyson was multiplying uppercuts, the co-owner of Repitch Recordings, Cosmo Rhythmatic and 3TH Records and owner of Carbone Records starts with "Dive Or Die" on the A-side: a speedy yet straight to the dancefloor tune based upon trancey acid lines a la Steve Stoll or Leo Anibaldi and aerial melodies. Combined with dark effects, this nostalgic song Made in Italy appears as an authentic Rave anthem from back in the glorious days!

On the flip side, ROD mastermind and dancefloor veteran Umwelt (Voitax, Return To Disorder) delivers a shaking, hefty and tremendous cut. Named with suitability "Tremblements", the jam signs a fascinating ode to smoking warehouses and illegal parties. Metallic pads over no mercy beats fused into industrialized synths and screaming atmospheres characterize this this dark as hell cut interspersed with counter breaks a la The Mover.

Dark, groovy and noisy at the same, two massive absolute bangers with old school roots on ROD twelve release! By the way, if you wonder the significance of the signs on the Rave Or Die logo in the labels, they are taken from the Hobo Code and mean "Keep away, Cops Active, Unsafe Area". You'll be warned.

Jauzas The Shining (Shipwrec, Last Known Trajectory) returns to New Flesh Records, this time accompanied by his compatriot Eliot Forin aka Foreign Sequence (D.KO Records, Concrete Collage). The unexpected duo delivers four unreleased killer cuts of high caliber for your own pleasure. Very Sci-Fi-esque "Talking Machines" takes place in a dystopian future and brings together a collection of powerful electro tracks incorporating elements of rawness, acidity, and melancholy at the focus of this intent.

In overture of the A-side, gloomy "Death By Fuzz" offers an epic collaboration between the two artists: the song fully illustrates the analog brilliance and dancefloor dazzling that they are able to. This heading jam picks things up with solid metallic drums while punishing percussions lift the track even higher until the end. Brainwashing "Painful Headaches" instantly following sees Foreign Sequence in a brilliant solo exercise where he unleashes the acid whereas a solid rhythm leads you to the dancefloor for some robotic and insane movements!

Side B opens with eponymous track "Talkin' Machines", a pulsating journey into processors and computer drivers from the French pair. Characterized by unhealthy melodies, pounding beats and cyborg noises, the cut merges fascinating sequences and dark atmospheres. With its astral pads, Jauzas The Shining's final song "Colombia" takes you on a cosmic trip, traveling at light speed through time and space thanks to mighty distorted FX. A rough ride, deep and intricate to destination unknown, the perfect future funk soundtrack for an no return exploration.

"Talkin' Machines" celebrates the collision of two worlds, two artists with strong universe and personality to become one entity. Rush on it!

The sound of sheet metal, ripping slowly, suspended in low gravity. Screaming in slow motion, claustrophobic and encapsulated. This is the result of Nino Pedone's reworking of Mumdance & Logos' dancefloor deep heaters 'Chaos Engine' and 'Cold', taken from the 2015 LP 'Proto', also released on Tectonic.

No beats, pure drama. Each of Shapednoise's versions pull the original tracks deep into a chasm of crushing reverbs and grinding atmospherics, stretching the originals to their limit - and well beyond. Prepare yourself for a journey that will take you deeper into the darkside.

Some two years after dropping his debut album, "Broken Knowz", Jay Daniel delivers a follow-up. Interestingly, the fast-rising Detroit producer opted to move away from his usual club sound on "Tala", recently telling Resident Advisor that it was, "an invitation to know me outside of DJing". It's as deep, jazzy and musically rich as you'd expect, with Daniel flitting between jazz-funk/broken beat fusion, spacey ambient soundscapes, head-nodding hip-hop beats, intergalactic R&B instrumentals, super-smooth beatdown fare and the kind of hushed, glassy-eyed grooves that are best enjoyed while lying flat on your back at six in the morning.

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

Next up on First Word Records, we welcome the return of Don Leisure, with an EP of beats that see his two alter-egos go head-to-head, 'Shaboo vs Halal Cool J'.

Probably best known as 50% of Darkhouse Family, along with Melange label boss Earl Jeffers, they released their acclaimed debut album 'The Offering' in 2017 and subsequent remix project last year, featuring DJ Spinna, Kaidi Tatham and more. The duo are coolly establishing themselves as Cardiff's very own Mizell Brothers, recently producing Kamaal William's latest work, featuring on Kutmah's recent Izwid compilation, and collaborating on the Chicago x London project 'Where We Come From', featuring Makaya McCraven, Joe Armon-Jones, Nubiya Garcia, Theon Cross and First Word label-mate Quiet Dawn, amongst others.

'Halal Cool J' appeared originally in early 2017 with 'An Ottoman Excursion' on our sister-label, Excursions. A series of edits born out of a decade-long love of Turkish music, and some record-digging expeditions in Istanbul, something Don Leisure did the very day after 'The Offering' release party, prompting another series of beats. Ahead of an all-new full-length Halal Cool J album, here we have two tracks to give you a taste, 'Kazakh Honey' and 'Kaymak'.

'Shaboo Strikes Back' on the flip-side, with a track of the same name, and 'Mango Season'. 'Shaboo' was the name of a beat album that came out on First Word in 2017, inspired largely by Don's Bollywood actor Uncle, Nasser 'Shaboo' Bharwani, and by memories of journey's with headphones hurling out Hip Hop, fused with the sonics of his Mum's interruptions, and her favourite Asian radio station. 'Shaboo' featured in several end-of-year album lists, with Piccadilly Records calling it "the best album of it's kind since Dilla's 'Donuts'. Unmissable."

Both prior projects got love from DJs and selectors far & wide, including Tom Ravenscroft, Lefto, Huey Morgan, Rob Da Bank, Om Unit, Simbad & Mr Thing. A truly global affair, the beat battle of 'Shaboo vs Halal Cool J' takes us on several short, sweet hikes across a variety of Eastern climes.

Join in the journey once again on 7" vinyl and digital on April 5th.

Australia based Brit Jamie Blanco serves up Kilsha's superb second EP and capitalises once more on a fine recent run of form.

Blanco has previously released on Felix Dickinson's Cynic as well as Futureboogie and more recently on Pelvis & Tone Dropout. He is one half of Ess O Ess as well as a solo artist making waves with his wonderfully off kilter sounds, and has played all over the planet in the last couple of years. Eclectic in taste and inspired by Balearic beats as much as driving percussion and acid, he is all set for a busy 2019.

Right from the off, 'Unit of Pleasure' gets in your affections with its mix of original live recorded percussion, aircraft noise and hypnotic bass. It's a wilfully diverse mix of sounds and scenes that is utterly compelling. The excellent 'Progressive View' then dips into broken beat and classic electro territory, with raw synths and cavernous hits driving things forward over a rhythmic b-line.

Keeping up the unpredictable mood of the EP, 'Grapefruit Agenda' is a tripped-out piece of left of centre house music, with paranoid melodies and circling pads amping up the energy and taking you on a real journey. The superb 'XOX18' closes things out with downtempo electro moods that are futuristic and dystopian, all with an effective analogue edge.

These four tracks confirm Blanco is a fascinating artist with a fresh take on dance music and provide another superb instalment for the supremely promising Kilsha Music.

Profit Prison is the solo work of Seattle-based Parker Lautenschlager, previously in the hardcore band Marrow, power electronics act Anteinferno, and black metal cult Bhereg. Conceived in 2016, Profit Prison explores lyrical themes of isolation, estrangement, deprivation and paranoia against an aural backdrop of synthpop, post-punk and abstract industrial music. Inspired by Franz Kafka as much as Kraftwerk, Profit Prison achieves a cold minimalism that speaks to the nightmarish dystopia in which it was created. The debut Myra was released on cassette by Dominick Fernow's Hospital Productions in 2017.

On March 29 Avant! will release the 12' vinyl debut Six Strange Passions. Six tracks where Hi-NRG disco beats and 70's throbbing synths melt with trembling, reverberated vocals and dark dungeon synth passages.

Limited edition of 300.

Artwork by Italian Noise legend Matteo Castro (Lettera 22, Kam Hassah, Second Sleep label)

Ahah... you thought DAFNE was off the system Yes they are ! Again surprising and traveling... This EP offers a south electro vision with crazy high drops : many Cumbia surprises and backwards beats... A generous 5 tracker to mix with itself. Crazy thing. Hope you like it ! I should have play that record last weekend ^^

German duo Avidus bring their spellbinding style to Crosstown this March. The pair have conceived a four track EP that serves to showcase their unique sound.

Avidus have produced a mesmerising EP that submerges the listener in an intriguing sonic soundscape. On title track XII prominent drums arise alongside dramatic strings that create a track full of suspense. Psalm 23 opens with an ethereal vocal sample that bleeds into a high-octane beat that's pacing and intense. On the flip, Lux is a dreamy and emotive number, calmer than its predecessors with a breathtaking breakdown, whilst last year's Revenge Of The Whales gets a rework for Crosstown.

Hailing from Kiel in North Germany Fritz Wagner and Marc Wolf, aka Avidus, have forged a strong partnership over the years. Fritz began producing music in the late 90s, making Hip Hop beats and pop music before moving on to house. During his early years, Marc produced backing tracks for hardcore bands before DJ'ing at illegal, outdoor raves. He started his own night ENDVR at Kiel's Luna Club, where he invited guest such as Âme, Roman Flügel, Barnt and Marcus Worgull. Their diverse musical tastes and influences are apparent in their music, which refuses to be confined to any one genre. The duo launched their own imprint Empore Music in 2014 that has charted releases from Johannes Albert amongst others.

* Second Album From La Stampa, The Six-piece Band From Berlin, Hamburg & Geneva.
* Includes A Bespoke, Full Colour, Fold-out Poster
* Artwork By The Acclaimed Artist, Shirana Shahbazi.
* Design By Manuel Krebs From Norm.
* Edition Of 500

Closely Working With Legendary Producer Tobias Levin From Hamburg, The Band Have Developed And Recorded The Ten Songs Over The Course Of Two Years. Picture Northern Creatures Sweating Out Their Melancholy In The Southern Sun. As The Wind Carries The Beats From The Beach Disco Across The Bay, Chopin, Vodka Shot In Hand, Imagines Writing Music Based On The Build Of Crystals. To The Side Of The Composer, The Rhythm Section Gets Restless. The Thrum Of Eastern European Electronics Pulsates In Their Brains. 'don't Work Yourselves To Death', One Of Them Shouts, 'it's Not Our Fate. Let's Go Dancing, Everything Must Change', Adds Another, And 'sun Screen's On The House!' This Is A Glimpse Of The World Bonjour

Last year saw The Last Poets celebrate their 50-year anniversary with the righteous, politically-charged poetic record, "Understand What Black Is". Now to continue the party, Brighton production-maestro Prince Fatty has reworked the album with a fresh twist and blend of smooth, dub-delights. Set to land on the 29th March, the revolution marches on - this is "Understand What Dub Is".

After Prince Fatty's involvement in the production of the original project, he was the perfect person to help update the record with five decades of experience for a new audience to enjoy. The ten tracks of "Understand What Black Is" depict a relevant, historical philosophy of identity and race that has followed The Poets over the last 50 years. Since the origins of the civil rights movements back in the late 60's, Abiodun Oyewole and Umar Bin Hassan (two of the longest-standing group members) have provided social commentaries and a voice to African-American consciousness that has now been heard on a global scale.

Their raps, exploitations and insights quickly evolved into the origins of hip-hop in Harlem, New York back in 1968, and now in 2019 they continue to voice their dedication to the cause with the backing of slick rock-steady infused beats to keep things moving. Having had their work sampled by the likes of NWA, Dr Dre, Kanye West, Snoop Dogg and countless others is just a testament to the timeless sounds and prophecy they have created, and now Prince Fatty has stepped up to put his stamp on it.

Prince Fatty's ever-reliable work gives "Understand What Black Is" another lease of life as he maintains an undeniably slick groove throughout. Both therapeutic and warm, the soulful rhythms of "Understand What Dub Is" provide the perfect platform for The Last Poets to delve into everything from Trump's inauguration, nods to Biggie Smalls and respect to Prince. The calm, collective and downright thought-provoking words go hand-in-hand with the roots-driven reggae medleys with ease - this is dub in its rawest form.

Not only do these songs explore personal struggles and individual endeavours, they also represent a collective of deprived aspects of humanity and socialism, that perhaps now need to be pointed out more than ever. Although there is a variation of sound, the overlying topics remain a constant - it is time to "Understand What Black Is" once more.

Seasoned Producer Oliver Kapp Takes Us Back To The Glory Days Of Underground Techno Where Pounding Sound Systems Ruptured The Space Time Continuum For Fun. The Old Guard Will Already Know That Kapp Has Pedigree, From Running And Releasing On His Own Record Labels Indulge And Raygun To A String Of Appearances On Stockholm Ltd, Logistic And Gigolo, His Dedication To The Cause Is Unquestionable. Which Is Why His First Appearance On Cocoon Recordings Is Long Overdue. What We Get Are Dj Friendly Tools Designed For That Time Of Night When The The Second Hand Stops Ticking. Kapp Presents A Perfect Collection Of Timeless Warehouse Techno, Like The Genre Itself There Are No Beginnings Or Ends, Just A Constant Barrage Of Hi Octane Machine Funk, Underpinned By Heavy Duty Beats That Somehow Manage To Induce A Sense Of Weightlessness On The Dance Floor. Scaling Down The Bpms To A Sub 130 Tempo, The Ep Is A Masterclass In How To Balance The Old School With The New. - loud Whisper Is Both Tough And Relentless, Generating An Hypnotic State That Ensnares The Dancer In Suspended Animation As Strobe Lights Flicker Across Closed Eyelids. Scattered Hihats Motor Forward And Trance Inducing Sequences Splice And Dice Causing Mind And Body To Drift Apart. - mantash Is An Altogether Gentler Excursion. Loose Tribal Rhythms Slalom Through The Metronomic Kicks Before Giving Way To Distant Chords That Embrace The Dancefloor In A Warm Fuzzy Glow. This Lush Vibe Extends Over The Rest Of The Track While The Beats Roll On, Accompanied By Delicate Melodies That Enhance The Ride. Euphoria And Delirium Combine On The Aptly Titled - rapture , As Chopped Up Vocal Fx Alternate Across A Hard Hitting 909 Pattern Complete With Angular Snares And Ride Cymbals That Bang The Box Into Submissio

Movente Is A Debut Lp From A Vital And Long Standing Figure Of Italy's Clubbing Scene Under A Brand New Alias. That Alias Is Cleptophonic, And The Album, Due In 2019, Is An Autobiographical Collage Of Experimental Trip Hop Sounds That Is Truly Immersive.

Under A Former Alias, Cleptophonic Has Spent Years Djing And Experimenting In The Studio And Has Made A Real Impact On His Native Scene As A Result. He Is A Very Delicate Person With Serious Attention To Detail That He Puts To Best Use By Delving Deep Into What He Loves: Playing On Turntables And Immersing Himself In A Sonic Realm Cuts Him Off From The Real World And Acts As Therapy For This Meticulous And Selective Person And Artist.

He Is A Master Of A Stylish Musical Collage Technique - Both In Sound And Images. As Such Movente Is A Collage Of Different Sounds, Sampled With The Turntables And Put Together With Logic, While His Passion For Collage Also Spills Over Onto The Album Cover, Which Is Made By Pieces Of Paper From Magazines, Newspapers And Comic Strips. The Result Is An Experimental Trip-hop Album With A Singular Sound That Puts Together Pieces Of Life, Sounds And Images That Are Meaningful For Him, Especially The Last Song, Which Is Dedicated To His Mother Who Sadly Committed Suicide A Few Years Ago.

There Is A Beauty And Delicacy To The Music Throughout This Most Excellently Escapist Album That Is Utterly Absorbing. Pads Swirl Round Louche Beats, Crisp Hits Ring Out Into The Night And You're Left In A Deep State Of Contemplation Throughout. There Are Warped And Shimmering Cuts, Dub Tracks Drenched In Reverb And Melodically Rich Broken Beats. The Whole Thing Is So Spacious You Get Sucked Right Into The Centre Of It All And The Thoughtful Moods And Deft Sonic Details All Making A Truly Lasting Impact. This Is An Exquisite Album That Encourages You To Really Get Lost In A Unique Musical World.

This is an 18-song project featuring some of the most legendary emcees alongside some of today's newest emcees. Every song has scratches on it and each track has that traditional Boom Bap Hip Hop feel.

Los Angeles based DJ and Producer Tone Spliff drops his full-length LP Ardore Melodico (roughly translating to 'blazing melody'). Grounded in an east coast sound and steeped in tradition with an ever-present emphasis on the DJ, Tone links up with some talented emcees to deliver a solid album. Sounding like a beast on the drum machine and the 1's and 2's, it's apparent Tone Spliff has some skills to flex on his latest project.

The beat-creator, originally from Utica, NY, said he made around 70 beats between February and April of 2017. He then started hitting up emcees he's worked with in the past and new emcees he wanted to work with for the album. Tone details that 'All of these tracks were made in 2018, so some of them have only been stashed for a few months.

hand-painted / signed / numbered / ltd. to 99 copies

Polyarrythmics is an EP by Mark Spn, a music producer and sound engineer who lives in London. While this is his debut EP under this moniker, he has recorded under various other aliases, one favourite being Holdie Gawn on Sylphe Records.

This release slows things down a notch from Mark's other output. He presents a densely layered work that conjures Herbie Hancock's sextant & Kirk Degiorgio's arps, J. Majik's mermaids & Underdog's attic tapes. It is cerebral and cohesive, made to be consumed as a sum of its parts: found sounds and urban field recordings, hushed Hammond grooves and modulated keys, muffled beats and unsyncopated rhythms, flickering electronics and hovering pianos.

Artist John Tsombikos has been commissioned to provide one-off artwork for the limited edition physical product, to be released in mid March. Hand painted, signed and numbered, limited edition of 99.

"
Cherrystones.
Mondo Benvenuto. Leggendario.
Blood, Campari & Sand. Belle Beats.
Meta Weta. Profondo Cazzo
Grazie. Grazie. Grazie !!
"

Following Releases From Rude 66, Vakula And Mick Wills, Arma Continues To Explore The Dark And Wild Corners Of Contemporary Machine Music Via A New Split 12' Featuring Lvrin And Maoupa Mazzocchetti.

Lvrin Has Previously Released On Pinkman, Crimes Of The Future, Mrt And Sign Bit Zero. He Occupies A Sound World Where Blown Out Boxes Spit Out Gnarled Beats And Slimy Basslines Through An Overdriven Desk, With The Ghosts Of Post Punk And Industrial Looming Over His Nocturnal Incantations.

Maoupa Mazzocchetti Has Been Weaving Defiantly Unconventional Strains Of Electronic Music Since First Emerging On Unknown Precept And Mannequin. He Delivers Three Rugged, Body-poppin' Grooves To The B Side, All Laden With Madcap Sampling And Mischievous Synth Splashes That Proudly Stray From Established Norms While Still Holding Down A Solid.

Following on from the positive feedback for KRL's 'Third' EP (Quintessentials 62), we had to give the standout track 'Never Leave' the remix treatment. 'Never Leave' is a straight up house track with those beats and rhythmic synths, but with the outstanding vocals of Janine Small it makes it a head turner! The A-side remix, courtesy of Greymatter (Wolf Music, Unique Uncut) keeps the overall vibe of the original, but adds more dirt and bass business ready for club action. The B-side remix courtesy of Quintessentials buddy Loz Goddard (Church, Razor-n-Tape) takes a step into deep broken beat territory while keeping the beautiful vocals. We love both remixes, job's done!

Qestion is an emerging talent from Madrid and, alongside Kwartz, is part of the "Body Unknown" project with which he has edited on Horo.

Now Qestion makes his solo debut via Order&Devotion and, following the wake of the label, he delivers a five track EP (including a remix by head honcho Kwartz) impregnated with dark atmospheres, killer synths, and powerful beats.

(12 EP, edition of 200 copies) This is what happened when Enfant
Terrible label boss M. and Roberto Auser went to work on some music
together. All tracks on this EP were tracks or sketches Roberto Auser
created for ET but went a different way after some studio sessions
together... so they created Silver Age People as a project and ended
up with a mix of elektro, post-techno, post-industrial with touches of
(dark) ambient... the music is much more subtle as the VEKTOR
project by M. and for sure darker as Roberto Auser has ever sounded
before... from pounding beats with a flirt to EBM to hypnotic dark
ambient pieces... it is all here on this debut EP...

Die Geschichte von Lambchop ist die der steten Veränderung und Weiterentwicklung. Was vor fast 30 Jahren im Keller von Kurt Wagner begann und von ihm selbst scherzhaft als 'most fucked-up country band in Nashville' bezeichnet wurde, hat sich inzwischen nicht nur als eine der dienstältesten sondern auch innovativsten Bands der US amerikanischen Musikszene etabliert. Seit jeher verbinden Lambchop unterschiedlichste Genres wie Folk & Country, mit Soul und Urban Electronica zu einem ganz eigenen, unnachahmlichen Sound. Kein Lambchop-Album klingt wie das andere, aber jedes klingt immer unverwechselbar nach Lambchop. Nach ihrem wegweisenden Album - Flotus' (2016) hat die Band aus Nashville jetzt ein neues Album für den 22.03.2019 angekündigt. Für 'This (is what i wanted to tell you)' arbeitete Kurt Wagner mit Matthew McCaughan (Bon Iver, Hiss Golden Messenger) zusammen, der ihn auch als Teil des Lambchop Live Ensembles im April auf Tour begleiten wird.

Im Sommer 2017 machte sich Wagner auf, über die Blue Ridge Mountains in Richtung North Carolina, zum Geburtstag seines langjährigen Freundes und Chef des Merge Labels: Mac McCaughan. Dort traf er auf seinen jüngeren Bruder Matt McCaughan, der das letzte Jahrzehnt als Schlagzeuger für Bon Iver und Hiss Golden Messenger verbrachte. Matt und Kurt kannten sich schon viele Jahre, aber erst an diesem Abend beschlossen sie zusammen an Musik zu arbeiten. Wagner schickte Mac neue Songideen und McCaughan schickte Wagner Synthesizer-Stücke zur Inspiration. Schließlich gingen beide gemeinsam in Nashville ins Studio, Pedal Steel und Piano und der Harmonika von Nashvilles Legende Charlie McCoy, die diesen schwarz-weißen Skizzen Leben einhauchte.

- 180g heavy, black Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Das Ergebnis ist This (is what I wanted to tell you)", ein Album, ergreifend ehrlich, atemberaubend, wunderschön und überraschend. Aber Lambchop sind nicht immer nur für eine Überraschung gut, sondern überraschen immer wieder mit verdammt guten Songs. Wenn Kurt Wagner etwas zu sagen hat, hören wir natürlich hin, das sollten sich alle zu Herzen nehmen. Diese Platte muss man einfach hören!

Heute gibt es die erste Single aus dem Album: 'The December-ish you' eine verblüffende Mischung aus bewährt emotionalen Slide-guitar und Pianoflächen alter Lambchop-Schule und effektiven PVC Pop Beats, Claps und Samples, über die Kurt Wagner die melancholischste 'Friday Night Fever' Ballade der Dekade croont.

- Limited edition, 180g heavy, weisses Vinyl, extra-großes, gefaltetes Booklet, Cover Sleeve mit Mittelloch auf der Rückseite

Die Geschichte Von Lambchop Ist Die Der Steten Veränderung Und Weiterentwicklung. Was Vor Fast 30 Jahren Im Keller Von Kurt Wagner Begann Und Von Ihm Selbst Scherzhaft Als most Fucked-up Country Band In Nashville' Bezeichnet Wurde, Hat Sich Inzwischen Nicht Nur Als Eine Der Dienstältesten Sondern Auch Innovativsten Bands Der Us Amerikanischen Musikszene Etabliert. Seit Jeher Verbinden Lambchop Unterschiedlichste Genres Wie Folk & Country, Mit Soul Und Urban Electronica Zu Einem Ganz Eigenen, Unnachahmlichen Sound. Kein Lambchop-album Klingt Wie Das Andere, Aber Jedes Klingt Immer Unverwechselbar Nach Lambchop. Nach Ihrem Wegweisenden Album - flotus (2016) Hat Die Band Aus Nashville Jetzt Ein Neues Album Für Den 22.03.2019 Angekündigt. Für this (is What I Wanted To Tell You)' Arbeitete Kurt Wagner Mit Matthew Mccaughan (bon Iver, Hiss Golden Messenger) Zusammen, Der Ihn Auch Als Teil Des Lambchop Live Ensembles Im April Auf Tour Begleiten Wird.

Im Sommer 2017 Machte Sich Wagner Auf, Über Die Blue Ridge Mountains In Richtung North Carolina, Zum Geburtstag Seines Langjährigen Freundes Und Chef Des Merge Labels: Mac Mccaughan. Dort Traf Er Auf Seinen Jüngeren Bruder Matt Mccaughan, Der Das Letzte Jahrzehnt Als Schlagzeuger Für Bon Iver Und Hiss Golden Messenger Verbrachte. Matt Und Kurt Kannten Sich Schon Viele Jahre, Aber Erst An Diesem Abend Beschlossen Sie Zusammen An Musik Zu Arbeiten. Wagner Schickte Mac Neue Songideen Und Mccaughan Schickte Wagner Synthesizer-stücke Zur Inspiration. Schließlich Gingen Beide Gemeinsam In Nashville Ins Studio, Pedal Steel Und Piano Und Der Harmonika Von Nashvilles Legende Charlie Mccoy, Die Diesen Schwarz-weißen Skizzen Leben Einhauchte.

Das Ergebnis Ist "this (is What I Wanted To Tell You)", Ein Album, Ergreifend Ehrlich, Atemberaubend, Wunderschön Und Überraschend. Aber Lambchop Sind Nicht Immer Nur Für Eine Überraschung Gut, Sondern Überraschen Immer Wieder Mit Verdammt Guten Songs. Wenn Kurt Wagner Etwas Zu Sagen Hat, Hören Wir Natürlich Hin, Das Sollten Sich Alle Zu Herzen Nehmen. Diese Platte Muss Man Einfach Hören!

Heute Gibt Es Die Erste Single Aus Dem Album: the December-ish You' Eine Verblüffende Mischung Aus Bewährt Emotionalen Slide-guitar Und Pianoflächen Alter Lambchop-schule Und Effektiven Pvc Pop Beats, Claps Und Samples, Über Die Kurt Wagner Die Melancholischste friday Night Fever' Ballade Der Dekade Croont.

Classic jazz/funk/disco cut that became an instant anthem on all discerning dance floorswhen it was originally released, and for decades to follow. Includes the previously commercially unreleased Sax Mix of 'Journey', cut loud at 45rpm.

Championed by DJs including Francois Kevorkian, David Mancuso, Larry Levan and more, it's a record that, alongside tracks like Atmosfear's 'Dancing In Outer Space', become synonymous with the UK influence on US club music at the time.A sound that many forward thinking DJs in New York, Chicago etc. embraced to stand out from the crowd and bring depth to the dance floor.

Driving jazz/funk, legato bass, grooving beats, subtle keys, dubbed out percussion and guitar licks that bring you to a simple but infectious piano melody.

A collaboration between Andy Sodjka and Jerry Pike, mastered by Herb Powers.

Down co-founder N'conduit presents his third solo release on the label with Latent States. The first release to come out of his new Brooklyn studio, Latent States has three original jams inspired by defunct beverages and dormant memories. From the A1 though the flipside, expect dirty modular basslines, warbly reel-to-reel FX, dusty saturated beats, and spaced out feedback. October, Bristol-based DJ/producer and O.G. Voodoo Down confidant, has contributed an ac

'Sometimes you wake up and you've just lost the plot. Is life great or is it not Should I eat more fruit Is buying diamonds rude' Ca$hminus are asking all the wrong questions. After their debut on Bordello A Parigi last year and a recent appearance on Credit 00's Rat Life imprint, the Belgo-Australiana duo unleash a collection of their wildest works to date. The package opens with 'Atlandwehr', a jaunting affair that could have risen from the filthy Berlin Landwehr canal, only to dissolve again after six frenzied minutes, leaving nothing but a trace of bubbles on the skanky surface. The gritty 'La Foire', a grimy take on Belgian new beat, fuses raw, stepping drums with a playfully gnarly synth line. Luckily 'De Vlasmarkt' is lurking around the corner: this is the awkwardly joyous soundtrack to an annual phenomenon in Ghent, where young and old folks gather on the 'Vlasmarkt' square after a heavy night of boozing, to collectively gaze at at the sun coming up whilst drinking Irish coffees until they drop. G-funk meets electro on the flipside, where Cora from Chengdu showcases her vocal swag on '' to a backdrop of supreme subbass and rattling beats. Man of the moment Cornelius Doctor of HARD FIST fame (the adventurous imprint he runs with Tushen Rai) delivers a beast of a rework that both hypnotizes and elevates. The acapella leaves you in charge of your own destiny.

Imagine if you could put together a dream line-up of MCs and producers from all four corners of the rap world
That's what artist and illustrator Gangster Doodles set out to do when he put together a stellar collection of tracks by the rappers and talent that inspire his work.

The all-star line-up features everyone from hotly-tipped emerging producers like Eets, Caleb Stone, Maze Mountain and LoVibe next to underground perennials like Onra, Mndsgn and Jon Wayne all the way up to top flight producer Kaytranada and established rap vets like Madlib, Oh No, Blu and Defari.

This second collaboration between All City Records and Gangster Doodles is a jam-packed sonic adventure featuring 27 killer tracks from some of the finest creators out there. Doodles had the idea for a comp two years ago. Hyped after partnering with All City for Knxwledge's "Wraptaypes" project back in 2015, they initially set out to put together an EP but as the tracks kept coming in it exploded into the sprawling double LP of low-slung grooves and bangers from the best in the business.

With everyone on the record being a friend or friend of a friend, the comp just kept growing as GD went to work with the hustle he has learned from penning his post-it sketches day in day out for the last decade.
Word spread fast and soon he was being sent beats from all over, even reaching behind the prison walls of Bergen County Jail, New Jersey and securing a track from former Dipset affiliate Max B.

The last few years have been busy for Marlon "Gangster Doodles" Sassy. He released his acclaimed Gangster Doodles (The Book) alongside an ever-expanding array of prints, original works, apparel and exhibitions across the globe. Topping that off with animation projects, a graphic novel in the works and now, with this LP titled " Gang$ter Music Vol 1", he is about to debut his first ever music compilation.
He says himself: 'Every time a new track came in it was like running down the stairs on Christmas morning to open a present. What started as a slow trickle of work coming in soon turned into a tsunami with some of my heroes like Onra, House Shoes, Blu, Jeremiah Jae joining up with young guns Kojaque, Kean Kavanagh, Dream Panther and others to beef up the record'

'When an email pinged through with a track from brothers Oh No and Madlib it felt like the final gift and Gang$ter Music Vol. 1 was complete.'

Following his highly praised album 'Word Color' from last year, Gacha Bakradze offers up this stunning EP on Fever AM. 'Monument' sees the Tbilisi based art- ist taking us on a refreshing, sublime journey over 4 pieces featuring his signature melodies, broken beats and striking sound design. Gacha pulls off a very well rounded EP here that works perfectly on headphones at home or on a sound system in the club.

This is also the first artist besides labelheads Mor Elian and Rhyw to appear on Fever AM, opening up a new phase for the label.

A prodigious guitarist at an early age, Willie George Hale earned the nickname "Little Beaver" from friends in family in Arkansas, remarking on his prominent teeth. Over the years Hale would make a name for himself as a reliable session guitarist, appearing on recordings by Betty Wright, Al Kooper, and Blowfly, and gradually developing his own distinct, rhythmic style of blues guitar playing. As the mid-70s approached Hale would embark on his own solo career, cutting albums and singles with Florida's TK Records, working alongside famed musicians like Jaco Pastorius, Benny Latimore, and Timmy Thomas. His career effectively ended in the 1980s with TK's collapse, but he would find new life in 2003 after performing on several Joss Stone albums, and his works would be sampled in hip-hop tunes by the likes of Jay-Z, Slum Village, and People Under The Stairs. Not long after his solo debut in 1972, Hale released the sophomore album Black Rhapsody, which did away with the vocals so Hale could put his own blues guitar chops at the front. Black Rhapsody featured a slew of original deep funk jams from Hale, as well as his own soulful spins on songs by Al Green, The Temptations, The Jackson 5, and even George Gershwin. A rare gem of 70s funk, famously featuring the track "A Tribute To Wes", which beatsmith J Dilla would sample to great effect on the Slum Village track "Conant Gardens."