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LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today.
Artists such as Dilla, Nas, and the xx, right through to the billion selling Kanye & Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage.
Their new album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a fair these two have perfected over years.
Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carrylots of deft studio work that many a producer would give their right arm for.
Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, fute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording.
Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed at 180g by Record Industry in Holland, this release has been aforded the care and attention it rightly deserves. Essential.

UK Techno heavyweight Mark Broom and Berlin's Discrete Circuit have teamed up before - but this is their first fully-fledged collaboration aimed squarely at conveying just how well this combination works. A heavy hitting merger from both sides of the channel, boldly stating that form follows function. This collaboration is to the point.

MBDC The A side opens with a superbly engineered kick and counterpoint texture that allows for an otherworldly synth to slowly worm it's way out of the abyss. Frequencies open and shut to allow for the exact exchange of energy welcome in the mix. With no trickery, and at just the right moment, a pulsating binary hook reveals itself in the track and guarantees the desired effect. The A2 tilts the hat toward a stripped back motor city influence. Groovy, tooly, slightly dissonant. Blips, claps, punctuation where it works. Just the right shade of reverb and modulation, push and pull in the arrangement, reveal the versatility of the track and round out the opening side with punch. The flip side, and third track from the collab is also direct, firing up with the ubiquitous clap on the one. Looping acid and a purist minor stab alongside sizzling hats and rides force the energy ever upward. The break is needed as the expertly air drenched acid line opens up the whole space before driving back down into the intensity for the remainder of the cut. The final track of the EP features a remix of the B1 by Astray's other in-house producer, H4L. Back with a frenetic, broken, idm influenced belter of a remix with scattered and distorted 808's - all reigned in cohesively with some stellar beat science and gnarly touches. These 4 numbers are built for impact.

Goners ist das fünfte Studioalbum der Songwriterin und Multiinstrumentalistin Laura Gibson. Ihre Sprache hat sich nie lebendiger angefühlt, ihre Geschichtenerzählung ist schärfer, ihre Vorstellungskraft lockerer. Für das neue Album engagierte Gibson eine Vielzahl befreundeter Musiker, darunter Death Cab For Cutie Gitarrist Dave Depper, Schlagzeuger und Perkussionist Dan Hunt (Neko Case) und Stand-up-Bassist Nate Query (The Decemberists); dazu bauten sie Horn- und Holzbläser-Arrangements mit Kelly Pratt (St. Vincent und David Byrne, Pater John Misty) und fantasievolle Streicherparts mit Kyleen King (Stephen Malkmus, Case/Lang/Veirs). Das Album wurde gemeinsam mit Engineer und Freund John Askew in seinem Studio in Portland, OR, produziert, Askew und Gibson haben bereits auf ihrem 2016er Album Empire Builder zusammengearbeitet. Für etwa die Hälfte der Songs legte sie ihre Gitarre zur Seite und spielte stattdessen Klavier und Wurlitzer. Produktausstattung der UIN Version: dunkelgrünes Vinyl, Poster, DL-Code

Impish Presents: Occulti Music Xi Album Feat. Zero T, Fd, Dave Owen, Roy Green & Protone, Humanature, Cutworks And More.

Occulti Music Returns With An Anniversary Album Compiled By Head Honcho Impish That Features 13 Tracks By Label Friends Zero T, Roygreen, Humanature And Others Of Which 4 Are Featured On The Vinyl Release. We Believe The Album Truly Showcases What The Label Is About: A Combination Of Deep But Musical Sounds.

Available On 12" Vinyl + Full Album Download Code.

A collection of Jamaican doo wop & R&B records taken from the late 50s and early 60s. These records represent a period in which soundsystems were just starting to dominate the island, with Duke Reid and Sir Coxsone stepping up their rivalry by beginning to make and release their own records rather than rely on US imports for use in their dances. Many of these records are definitely more-or-less imitations of the American records, as the uniquely Jamaican ska sound was yet to take hold - however many of the future stars of ska, rocksteady and reggae were beginning to cut their teeth in the industry on these records, incl. Jimmy Cliff, Derrick Harriott, Alton Ellis and more, and they provide a unique view into the fledgling independent record industry culture in Jamaica that would prove to be unbelievably proflific and unparalleled for an island of it's size.

The new album from Danish electronic trio System is a special kind of collaborative effort with piano magician Nils Frahm. His purpose-built improvisations on synth, organ and piano served as source material for the members of System (Thomas Knak, Anders Remmer & Jesper Skaaning), who merged his warm acoustic tones with their minimalist digitalism and set out to translate their distinctive clicks 'n' cuts electronics into vivid soundscapes. Over two years in the making, the resulting nine tracks are as sonically intriguing as they are touching. Ranging from the mellow bliss of the title track to echoes of 90's and 2000's electronica and ambient sequences frequented by mesmerizing movements and sounds. The blending of piano and digital tones and noises into emotive pieces might instantly recall the work of Alva Noto and Ryuichi Sakamoto, though System and Frahm come to quite different results.

Thomas Knak met Nils Frahm at one of his concerts in Copenhagen. They stayed in touch, exchanging thoughts and ideas. Two years later, Anders Remmer was also introduced to Nils. From then serious ideas for a collaboration formed. As Nils was a fan of System's self-titled debut album (released in 2002 via Pole's Scape label) their talks centred around Dub and minimalism, elements that constitute most of System's music as well as their side and solo projects. This in mind, System began producing sketches and brought them to Nils´ Durton Studio in Berlin in December 2015, where they recorded ten hours of him playing keys and effects to their drafts. Back in Copenhagen, they decided to change direction. - As Nils had told us about his fascination with our debut album, we tried to rediscover this minimal clicks 'n' cuts era. But hearing Nils playing to our rhythmic beds, we felt the need to scrap those beats and instead head in a more cinematic direction.'

So they started building new pieces from the Durton recordings, maintaining some of the minimal and static quality while new layers of synth sounds and noises created a richer and more organic quality compared to older System albums. The solo projects of Thomas (Opiate), Anders (Dub Tractor) and Jesper (Acustic) always relied on steady beats or rhythmic material, so the productions of 'Plus' with their focus on acoustic and melodic elements, ambient layers and cinematic moods, sees them pushing forward into new areas.

This way, the trio avoided copying what they had already done years ago, when they built a reputation as Denmark's prime originators within electronic music in the 90's and 2000's. 'Plus' is a triumphant example of collaborative experimentation and may be the dawn of a new era for System: - For us it was really satisfying to focus more on actual sound rather than rhythmic aspects. There is a lot of potential in this field, so it would only be natural for us to pursue this, maybe as a series of collaborations with other people who's music we admire.'

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

Bear Bones, Lay Low links up with Pizza Noise Mafia's Carrageenan and comes with a monster of a miniLP. BIG TIP!
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Matthieu Levet (Carrageenan / Pizza Noise Mafia) and Ernesto González (Bear Bones, Lay Low / Tav Exotic / Maitres Fous ...) are two musicians based in Brussels who have cut their teeth in the city's freeform underground for well over a decade. Having spent time at numerous shows and parties together, they solidified a friendship after a two week tour around Europe with fellow electronic explorer , Accou, in April 2017.

It was shortly after this moment that the label Random Numbers approached the two with the initial intention of releasing a split cassette with music from their respective solo projects. Several exchanges later, the plan quickly changed into realizing a full-fledged collaboration between both musicians who, while having deep respect and interest for each other's music since they first met, had never found the opportunity to create something together.

The result is the CARCASS IDENTITY EP: a combination of Levet's raw and dub-infused electronics with González's kosmische psychedelic touch. This is music meant for strange parties: the kind where dancing and laying down are equally accepted and ncouraged, where there might be more silence than talking between participants, where small gestures and events reveal their transcendental meaning...

Repress of their first 12'' single "The Stains". This extended edition includes a bonus track - 'Phantasmagoria'- and a friendly dancefloor cut of the title-track by Alessandro Adriani.

Conceived by vocalist Gerrie Brand, the band was starting out as performance art, and quickly became more as Gerrie surrounded himself with some of the best musicians from the club and art scene in South Florida, including our dear Mystic Bill, who was playing the guitar with the band in the early stages.

Originally self-released in 1991, the single "The Stains" became an underground club hit and charted on many college radio stations, in both the extended and the original version. The single was distributed as a hard to get promo only release. The repress contains also the title-track of the single 'Phantasmagoria" - another cult tune for early 90's goth djs - originally released in 1992. Mega tip!

Blend Architect is a techno producer out of Japan in the lineage of DJ Nobu or Ken Ishii. 'Uncloud' - his very first release - is composed by 2 movements with 2 variations each.

Cloud 1.1 sets the initial atmosphere for 1.2 to jump in and offer a more tense body that will play deeply with our intellect and physicality. An apparent minimal universe but full of subtle details.
Cloud 2.1 opens the B side with a futuristic high voltage cut. Finally, Cloud 2.2 brings the time back to present tense and the dance continues!

The seventh volume of Drumcode's annual A-Sides compilation hits with no less than 10 debuts for the label, with Charlotte de Witte, ANNA, B.Traits and Scuba's SCB project, among the collection of topline artists to release their maiden productions on the imprint.

Over two decades into its lifespan, Drumcode keeps evolving and excelling, pushing techno forward while remaining wholly respectful of its roots. This reputation for progression was further fuelled this summer with its inaugural festival at the NDSM Docklands in Amsterdam, featuring a long list of heavyweights including Nicole Moudaber, Joseph Capriati, Amelie Lens and Ida Engberg, among others.

As ever, the A-Sides compilation provides a timely opportunity to showcase the full range of its sonic repertoire, with Adam Beyer scrupulously selecting unreleased tracks that have taken prime position in his sets over recent months.

Formidable duo Dense & Pika kick off part 5 with their powerful composition 'Lemur' renowned for their standout studio output they consistently conjure up a unique take on their distinct sound. Tastemaker's favourite Jel Ford makes a welcome return to the fold as he ushers in techno rhythms with bustling breaks with his track 'Nightshade'.

On the B side resident DJ of the infamous GZG parties in Holland, Man With No Shadow supplies his rave infused twisted cut 'Manilla', where his warped bass combines with shattering breaks & heavy weight drums.

Lastly, Locomatica & Blaukoma present 'Unfold' a brooding techno workout with crisp drum programming that features a euphoric vocal bursting with emotion. Set to cement these two producers as acts to keep your eye on in the near future.

LMYE first came to light in 2016 on Funkineven's Apron imprint with the LMYE EP, which quickly became a regular fixture at the London label's infamous parties and bbqs as well as with house DJs worldwide. Since then the pair have been relatively quiet, only appearing once on record, with a release for Bristol's Idle Hands in 2016.

The paucity of their output though belies a busy production schedule behind the scenes. Tracks from those sessions have surfaced occasionally in the sets of DJs like Shanti Celeste and Ben UFO but they have never seen the light of day on a full release until now.

As you would expect from their first releases, the self-titled LP treads a line between classic house and UK garage with a nod here and there to boogie and Latin freestyle, genres which have inspired their production techniques.

From barnstorming new jack house cut 'The Gift' to the classic UK funky sound of 'Hypnotized', LMYE have selected only the most weighty numbers at their disposal, with the aim of offering an LP that will catch the ear of those at every end of the house spectrum.

That's not to say that this is an LP of dancefloor-only cuts though. 'Long Island at Night', which features Bristol's Typesun and Adam Davies live in session, shows the softer, more musical side of LMYE's output. Meanwhile 'XTC Rising' is a uk garage cut with a classic edge which nevertheless still feels modern and up to date in its outlook.

In short, 'LMYE' collects the highlights of a number of years' work, with the aim of finding a home in the boxes of the most discerning and listeners for years to come.

CODY BLACK was born and raised in Cincinnati in the shadow of King Records where he cut this landmark Northern Soul 45 'I'm Slowly Molding' in 1968. However, it didn't impact on the UK soul scene until the mid-Eighties when, at last, it finally hit at the ground-breaking 'Top Of The World' club in Stafford. Still a mainstay of the All-Nighter scene to this day and commanding prices in the region of $1,000. Black recorded a string of 45s for as many labels including the highly prized 'It's Our Time To Fall In Love' on 'GIG' and the sublime 'Mr Blue' on 'D-Town'.
CHARLES SPURLING was a fellow Cincinnati music hustler working as an A&R man at King Records when he cut this pounding Northern Soul dancer in 1967. AWESOME!

Snaketime Series is one of the earliest and rarest of Moondog's recordings, originally released in 1956. Snaketime' is what Moondog himself referred to as his unique sense of time in music, what he called a slithery rhythm'. And indeed, almost nobody else was making music as unique as this in the 1950s, drawing influence from city sounds, and working on many of his own instrumental invitations, Snaketime Series is truly cutting edge American avant-garde. Reissued on 180 gram LP with deluxe jacket, and a download card.

'SPECIAL LATIN SOUL BOOGALOO & MORE' - Another great volume in one of the best compilation series ever! Again, this is an amazing selection of very rare and groovy cuts, this time focused on Latin soul, boogaloo and beyond!

The second vinyl release from Nollern Records draws together three cuts of minimalistic groove-driven techno.
Francesco Passantino has delivered two hypnotic dance floor excursions built on throbbing basslines and eerie vocal samples. Tuberoom' is a melodic ride with haunting synths and groovy percussion, whilst Tabu' goes a shade deeper, as mesmerising as it is stripped back.

On the flipside the label founders craft a mind-bending modular kissed restyle of the original, with inspiration taken straight from the Far East. Rich in emotive energy, Nollern envelope the track with a prime vocal sample and subtly enchanting chords.

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

The latest release on Arma comes from Dutch legend and devoutly deviant underground operator Ruud Lekx, aka Rude 66. With a legacy that reaches back to the early 90s and the rough and ready Dutch electro sound of Bunker Records and The Hague, he's maintained a distinctly non-conformist approach that touches on acid, Italo, techno and more besides, all finished with the punky attitude that sets him and peers like Unit Moebius and I-F apart.

The tracks gathered together on The Witch Trials EP come from throughout Lekx's career. As the artist himself says, 'tracks from wildly different eras and sessions suddenly can combine to form one coherent EP. It's almost like the A-side tracks were waiting for 20 years to be combined with the B-side tracks.'

The overriding theme that binds together these timeless machine excursions is that of medieval witch trials - a global phenomenon that peaked in the 15-1600's. Considering the suspicion, propaganda and mass moral panic involved in this strange curio of distant history, Lekx points to the parallels with the current age, 'of political polarization and fake news accusations flying all over.' The EP title is also a tribute to two records close to his heart: The Fall's Live At The Witch Trials, and the one-off Witch Trials project by members of the Dead Kennedys, Adrian Borland and Christian Lunch.

'Werewolves & Poisoners' and 'The Crusade Against Idolatry' are both archive tracks from the 1994-5 period when Lekx made his first albums for Bunker Records. The first track's charging arps, rugged kicks, nagging acid lines and discordant paranoia all speak to that trailblazing period, while 'The Crusade...' revels in canny programming of interwoven synth lines feeding into an unhinged, psychedelic rampage that reflects the righteous fervour and spiritual confusion of the EP concept.

'The Absence Of Diabolism' opens up the B-side with a different tone, having been produced in 2016 and demonstrating the deeper acid undulations Lekx has become known for in more recent years. Still delivered via the same trusted tools he was using in the 90s, the sound feels like an extension of the Rude 66 vision rather than a separate entity. 'Envious Are All The People, Witches Watch At Every Gate,' a cut from the late 90s, closes the EP out in a spacious, snarling exploration of broken acid electro laden with cinematic sweeps of synthesizer and a constant sense of unresolved tension.



Across these four tracks, Lekx displays the scope of his craft as Rude 66 while also proving that timeless music can make sense in any context, and that the threads of inspiration in an artist's journey can be followed, explored and even resolved 20 years later, when you least expect it

Revisiting another classic for this issue of Len Faki's edits, he chooses Kotai's 2002 track BA3 Breathing, a standout-cut for it's ringing vocals and ominous bassline rumbles. With the original clocking in at the 10-minute mark already, Faki's tribute mix is not much shorter, but manages to fill the spaces between beats with lots of fresh details, lifting the song's energy to a new level, while retaining the soft but sexy vibe of Kotai's compostion. Tightening up the mix and making away with vocals alltogether, the Hardspace Tool-version then solely puts its focus on busty beats and percussive prowess, staking its claim as contender for bossiest bassline of the night.

As with all releases of LF RMX, the proceeds of this record will be forwarded to the Berlin organization Straßenkinder e.V. to be used in actions against child poverty.

Kingdoms welcomes Finnish composer, producer, visual artist and filmmaker Hannu Karjalainen. His recording career now spans over a decade, beginning under the pseudonym Hannu and later under his full name for 'A Handful Of Dust Is A Desert' on Karaoke Kalk. Now, this seven track mini album on Francis Harris' Kingdoms sees Karjalainen continue his explorations in new directions - touching on field recordings, soundscapes and esoteric instrumentation to build a truly meditative and moving record. 'Drift' begins with 'Sermon to the Birds', featuring beautiful plucked strings and ambient atmospheres, before 'Carnivorous Flower' casts us into enormous otherworldly dronescapes. 'Untitled #34' brings about a beat of sorts, but deeply deconstructed to a crawl, allowing acres of space between the hits and sub bass pulses. 'Sunless' is, conversely, a ray of light - bright, weightless pads provide the feeling of being completely cut adrift. Segueing into 'Nightfall', the tones become a little duskier and more intense, building throughout the track. 'That Obscure Object' is another trip into the space, as white noise and fragments of melody intersect. The album ends with 'The Nile' - a treated piano plays a haunting melodic sequence, seemingly suspended in air. It's a beautiful, emotional conclusion to an album that encourages the listener to take the time to experience its many pleasures.

Friendship. Gratitude. Music Passion. Turbo Recordings is proud to present the feel-good story of the year with the debut release from Tiga & The Martinez Brothers.

"This is a true labour of love,' says Tiga. 'Two of the most refreshingly positive figures in dance music teaming with me, the heartless cynic with a heart of gold. Positivity and actual quality: the best of both worlds."

Tiga was originally meant to produce tracks for the DJ duo, but the sessions soon evolved into a full-fledged collaboration. The three men manned the studio in psychic unison, laying real-time drum programming and minimal storytelling over a techno foundation to create a truly dynamic dynamic. The result is some of the best work of their careers.

'Chris and Steve brought a deep knowledge of house music and DJ energy-flow, while I left my deep hatred of live studio jam sessions at the door," adds Tiga. 'These tracks are tougher, funkier and weirder than 99.3% of contemporary dance music, and it's all because we were brave enough to get sincere and real."

The material was written and recorded over the course of two sessions at Montreal's Lost Star Studios, a haven for vintage gear and laid-back vibes right out of your most casual dreams. It was easily the most fun anyone's had in a studio since 2014.

"You can keep your VIP laminates and hot flavors of the moment,' concludes Tiga. 'I'm here to tell you that there's nothing cooler than the magic of friendship.'

Part II of the collaboration is set for release on The Martinez Brothers' Cuttin' Headz label under the name The Martinez Brothers & Tiga, an inspiring nod to the importance of fairness in project credits

International Black's 6th release comes from critically acclaimed electro supergroup London Modular Alliance. Operating from a refreshingly simple credo of: 3 men, 0 computers, many patch cables - LMA create their music on the fly using soley modular synthesis. Consisting of Koova (brokn toys), Pip Williams (Central Processing Unit) and Yes Effect, these three experienced producers have blown minds with their ecstatic live performances across the globe. Coming in hot after releases for Kirk Degiorgio's A.R.T. Records and Hypercolour, their release for International Black takes no prisoners. Opening the A side is 'Same Repeated Cycles', an ice cold electro inspired groove featuring LMA's signature modular synthesis. Engineered to perfection and mastered by Matt Colton, this cut delivers a new level of toughness to the International Black catalogue. On the B Side, 'Acid Lab' takes a more gentle approach: slo-mo electro drenched in acid. The lead tb303 riff floats in an abyss of dubbed-out dystopian psychedelia. Closing the record is 'Volatile State' , an otherworldly piece of alien sound design which simmers ominously for over 2 minutes before exploding with an extra-terrestrial electro force which simply can't be ignored. Each listen reveals a new detail of this impossibly intricate yet incredibly effective record. Designed for the club, engineered for the mind.

The 8th record from Muzik & Friendz sees Pat Lezizmo joined by a few especially picked artists.

People who have their own take on Electronic Music and typify the sound the label is pushing.

The Obdurate Session EP brings in Al Bradley, Replika, Dsitb and Harry Light for four different trips on this.

Al Bradley takes us on an atmospheric and 80's tinged dreamstate workout with his Move A Little Closer, a refined production as we have come to expect. Pat & Dsitb keep things strictly deep with their Sea Cake cut. A sampler workout with a close groove that keeps things bubbling. Harry Lights Basement Dub brings a bit more heft to this heavy collection of tracks, pure driving House music whilst finishing the EP Replika's sample based slice of classic House On the Spot warms things up a tad, pitting washed out melody against a funked up groove.

Skin Town's unexpected return with their new album 'Country' finds the duo upping the already high bar set on their striking dark pop gem debut 'The Room' with a dauntless artistic statement that trades clever posturing for vulnerability. Yielding their prowess with more restraint, Skin Town's 'Country' hits harder and cuts deeper - doubling down on their narcotic cocktail of strong R&B hooks, spacious bewitching productions, and marked sense of melody that puts vocalist Grace Hall and multi-instrumentalist Nick Turco in a class of their own.

Many saw that potential on their debut with support from Dazed, Interview, The FADER, KCRW, as well as artists like Tinashe shouting out Skin Town. Lamenting on the duo's unmistakable chemistry, Pitchfork says, "Turco's synthscapes are huge and scene-stealing, while Hall's husky voice strikes a glorious medium between Abel Tesfaye and Sade." Their latest is even more potent, a particular strain of sad dance music that feels timeless and raw.

'Country' refines Skin Town's minimal framework of tethering hip-hop/R&B rhythms to Hall's smoky, precise phrasing exploring richer atmospheres and darker concerns. Written and recorded over 3 years, the album touches upon depression, loss, hedonism, poverty, rebellion, sex work, empowerment, and love's contradictions. The album's completion was sidetracked many times with Hall suffering a string of life-threatening mysterious immune system ailments, as a result there is a lot of pain and joy in this record, made with literal blood and tears.

The opener "Bad" signals at this departure from their upbeat predecessor stripping away the beats, relying on the interplay between Turco's ringing chords, the enveloping synthwork and Hall's melancholic, rhythmic intonations. "Mute" brings back the drums, couched in a slinking hip-hop beat and a creeping synth lead. Throughout the record, Turco's productions glean from an eclectic, disparate mix: melodic Amiga tracker music, Metro Boomin', New Age, The-Dream while Hall seems ever more comfortable exploring syncopation and half-rap/half-sung excursions. This is inventive, uncanny pop music where Enya, Offset, Zola Jesus, and Future inhabit the same space.

Skin Town's unerwartete Rückkehr mit ihrem neuen Album "Country' hebt die sowieso schon recht hohe Messlatte ihres markanten Dark-Pop-Juwelen-Debüts "The Room' noch ein wenig höher. Skin Town's - Country" schlägt härter zu und schneidet tiefer - und verdoppelt ihren narkotischen Cocktail aus starken R&B-Hooks, einer großzügigen, betörenden Produktion und einem ausgeprägten Sinn für Melodie. Das ist erfinderische, unheimliche Popmusik, bei der Enya, Offset, Zola Jesus und Future im selben Raum leben.

Viele sahen dieses Potenzial bei ihrem Debüt und so gab es reichlich support von Dazed, Interview, The FADER, KCRW sowie Künstlern wie Tinashe. Pitchfork hob die unverwechselbare Chemie des Duos vor und sagte: "Turcos Synth-Landschaften sind riesig und szenenraubend, während Halls heisere Stimme eine Klasse für sich ist, angesiedelt zwischen Abel Tesfaye und Sade.'

Country' verfeinert den minimalen Rahmen von Skin Town, Hip-Hop/R&B-Rhythmen mit Hall's rauchigen, präzisen Vocals, die weitere Atmosphären und dunklere Anliegen erforschen. Das Album behandelt verschiedenste Felder von Depressionen, Verlust, Hedonismus, Armut, Rebellion, Sexarbeit, Empowerment bis zu den Widersprüchen der Liebe. Die Fertigstellung des Albums wurde mehrmals aufgeschoben, wobei Hall eine Reihe von lebensbedrohlichen, mysteriösen Immunsystem-Krankheiten erlitt, was dazu führte, dass viel Schmerz und Freude auf dieser Platte zu finden sind, die sprichwörtlich mit Blut und Tränen gemacht wurde.

Tensal returns for a third release on Kynant Records, 'Industrialsociety'. He explores brokenbeat and atmospheric techno over four diverse tracks: the off-kilter rhythm of 'Intermixture', two straighter, driving cuts and the melodic, IDM-leaning 'Truebano'.

Milton Bradley debuts on AVION's Crossing with three ferocious techno cuts under his Doomsday Device moniker this November.

Since its launch in 2013, Crossing has mainly acted as a platform for its founder, Index Marcel Fengler and Stress Research producer AVION, however the imprint has also hosted techno artists like Thomas Hessler, Pfirter, Doka, The Automatic Message and Stefan Rein. The label now presents a full release from Milton Bradley, appearing under his Doomsday Device guise. Founder of Do Not Resist The Beat!, the German producer has also appeared on labels like Prologue, MDR, Ann Aimee, and many more.
First up, The X-Planet' uses relentless drums, arcane vocal murmurs and bursts of white noise to

set the tone for a truly militant release. Device 4' is then a twisted journey from start to finish, with its pitter- patter sequences and oscillating sci-fi inspired atmospherics, making way for The Yesterday Machine' with its menacing aesthetic complete with ebbing synths, crashing hats and off-beat snares.

Vinyl Only - LTD 200 copies - 125 BPM Techno, deep and dancefloor... Superb machinery, produced by Mik Izif (Physicial, Alternative) and Dolby D (Dolma, FT Sound...)... 2 very good producer and at least a fat press cut at Shane The Cutter's place... Tunes are just crazy with one Bass Techno on the A and one broken techno turning 4/4 after the first break and returning break after the second brak... Too Good !!! LIMITED 200 COPIES !

Originally released in 1986 under Luis Delgado's cult imprint El Cometa de Madrid'

Produced by Luis Delgado (Finnis Africae, Mecánica Popular) and performed by Patricia Escudero, this beautiful record dives into Erik Satie's compositional work thru an experimental optic.

Entirely recorded on Synthesizers, and making heavy use of FX and timbral manipulation, this recording brings out a Satie that's never heard before.


-This record was remastered and cut from the original tapes. However, those tapes were highly affected for what is known as the Sticky Shed Syndrome, and were very deteriorated.

Even though that was professionally taken care of, it was a very long process to get a result that exceeded our standards to be pressed. That being said, there are very few parts were you might find an slight change on sound that was impossible to eliminate completely, due to the above mentioned issue

Sometimes Magic Happens. Sometimes, Emotions Enwrap You In A Way You've Rarely Experienced Before. Sometimes, It's Just A Matter Of Freedom: The Freedom To Create, Improvise, Process, And Re-process, Without Specific References, Deadlines, Or Obligations To Please Whatever Markets Or Audiences With Clear-cut Styles And Sound Signatures.

Actually, This Tomat Petrella Affair Is Quite Unexpected. It's A Game Of Two: Turin-based Davide Tomat, Who Has Over Twenty Years Experience As A Multi-instrumentalist, Band Leader, And Sound Designer In Several Italian Projects (niagara, N.a.m.b., And Founder Of The Superbudda Collective); And Musician Gianluca Petrella, Hailing From Southern Italy But In Fact A Citizen Of The World And - More Importantly - One Of The Most Revered And Inventive Jazz Trombone Players In The World From The Last Decade Or So (as Stated On Several Down Beat Critics' Polls And Proven On His Blue Note And Ecm Releases).

'kepler', Their Collaborative Effort, Is A Beast Of A Different Nature. It Has So Many Textures, Intuitions, And Complexities That You Can Hardly List This Simply As A 'jazz-meetselectronica' Project.

So Much Cheesy, Well-educated, Nicely Predictable Music Has Been Produced Under That Moniker, But So Far None Of Them Have Had 'it'.

Debut physical release from Scottish newcomer Andrew Greens AKA Ash Is. Hailing from Edinburgh and at the heart of club culture in his city, he is running parties and sharing stages with the likes of Baltra, Bwana, and other forward thinking international artists. This release comes packed with 3 affecting club tracks, each serving a different purpose. Ash Is fuses elements of rave, house, techno, and electronica to serve up moments of euphoria & tenderness. Fluttering arpeggios, dusty breaks, warm pads & feeling laden melodies often feature, capturing a sense of post-club emotion. These are three heavy hitting cuts that truly carve out a lane of his own.

Bruce - Aka Larry Mccarthy - Is Set To Release His Debut Album Sonder Somatic This October On Uk Imprint Hessle Audio. The Album Packs 11 Singular Uk Club Tracks That Evoke A Distinctly Emotive And Dense Energy, Channelling Detailed Sound Designs, Tangled Textures And Club Anthems For 2018 And Beyond.

The Record Is Deeply Varied In Styles, Ideas And Tempos, From The Tight Rhythmic Groove Of Album Opener 'elo' To The Weaponised Onslaught Of Ominous Club Cuts 'what' And 'cacao' - Through Drifting, Meditative Techno And The Skeletal Sound Design Of 'ore' And 'baychimo.' Each Track Shifts The Tonal Mood In Subtle And Distinct Ways, Whilst Retaining A Consistent Icy Sound Palette Infused With Colour And Human Warmth.

The Shapeshifting Hessle Audio Imprint Is Run By Pearson Sound, Ben Ufo And Pangaea. For Over Ten Years, Through Their Combined Tastes They Have Continued To Unravel And Explore The Edges Of Sounds And Ideas From The Wider Dance Music Scene, Across The Boundaries Of The Functional And The Experimental, With Consistently Innovative Results. As A Long Time Follower Of The Label, Bruce Wanted To Craft An Album That Continues Their Singular Attitude And Approach, Incorporating Vibes From Uk Soundsystem Music As Well As Music From His Home Town Of Bristol.

"from Being A Fan Of Their Work From The Very Beginning, It's Not Only The Music They Have Released That Has Informed My Taste/work, But Also The Journey They Have Formed Through The Application Of Their Attitude And Approach." - Bruce

Much Of Sonder Somatic Was Shaped By Bruce's Own Understanding Of Club Culture As A Whole, And Predominantly His Personal Relationship With It Both Professionally And Recreationally. The Album Was Partly Written As An Attempt To Capture That Rare Transformative Feeling That Can Cause You To Fully Lose Yourself In A Club Space, Disconnecting From Your Immediate Environment For A Short Time.

Sonder Somatic Follows Eps For Timedance, Livity Sound, Idle Hands And Hemlock, And Comes 4 Years After His Debut Ep 'not Stochastic' For Hessle Audio. The Album Pushes The Boundaries Of What Club Music Can Be Whilst Expertly Refining His Work As Both A Club Producer And An Experimental Sound Designer. With A Unique Sense Of Flair That Sets Him Apart, Sonder Somatic Is Set To Raise Bruce's Profile Across All Corners Of The Dance World.

For Fans Of Hot Chip, J-pop, Dada. Perlita Is Responsible For 'sex Instruments', The First Ever Song Made Entirely Out Of Sounds Produced By Sex Toys, Including Guitars Played With Vibrators, Bass Notes From Anal Beads And Strokers For Rhythm. The Track Was Made Especially For A Pornhub Toys Ad Campaign.

Caballo Rojo ("red Horse") Is The Second Album By Perlita, A Band From Cádiz, Spain, Once Described By A British Critic As "a Hot Chip Fronted By Freddy Mercury". For The Follow-up To Their 2016 Debut Cangrejo Yeti ("yeti Crab"), The Threesome Have Come Up With A Titanic Piece That, Mood-wise, Jumps Around And Gallops Between Pop, Flashes Of Andalusian Folkloric Music, Drum Machines, Japanese Voices, Synths And Verses By Spanish Poet And Nobel Prize Laureate Juan Ramón Jiménez, Among Many Other Things.

Perlita Are Based Part-time Between Puerto De Santa María, Cádiz, And The Madrid Borough Of Lavapiés. That In Itself Could Constitute A Music Genre, But It's Not On Wikipedia Yet. Their Music Speaks Many Languages, Some Of Them Invented. There's Something In It That Echoes The South - The South Of The Andalusian Psychedelic Rock Bands Of Yore, But Also Of The Typical Cádiz Brand Of Humour, Of The Famous Carnival, And Of The Northwest-african Radio Waves Reaching The Beaches Of The City From Across The Gulf Of Cádiz.

Having Cut Their Teeth In Many Spanish Indie Bands, With Perlita, The Three Band Members Decided To Explore Other Worlds - Worlds Where Synths And Drum Machines Rule, Yet With Plenty Room For Wild Percussion And Marvellously Poppy Melodies. The New Direction Became Clear On Their First Effort Cangrejo Yeti, And Is Continued On Caballo Rojo: Electronic Pop Made With An Open Mind, With A Special Fondness Of The Poetry In Details, And With A Production That Is Morphing Throughout The Record - From A Sophisticated Accompaniment Gently Rocking Some Precious Verses To A Raw And Forceful Sound Slinging Almost Dada-like Shouts, Like A Poet At A Rave Hollering About The Dunes.

For its next release, No.19 Music welcomes one of dance music's most celebrated contemporary artists in Ryan Crosson for a new single coming on vinyl and digital.

Crosson is a true techno tastemaker who hails from Detroit. He's released on long established labels like Minus, as well as going on to form Visionquest with Seth Troxler, Shaun Reeves and Lee Curtis, and the label of the same name where he also put out key EPs and LPs with Merveille. From headline sets at festivals round the world via club gigs at the most tasteful venues in the scene, he is a real giant of underground dance music with studio skills to match, as this standout three tracker proves.

Superb opener 'Comet Pills' is a deep and thoughtful track that encourages your mind to wander off into the cosmos. Slick drums and melancholic chords set the tone, while the bass fleshes things out and sci-fi details bring out a cinematic quality.

The brilliantly mysterious 'Roscoe' is expertly stripped back and reduced house music that takes you on a trip. It's quick and smooth, with watery sound design, soft hits and muffled vocals adding intrigue to a track that is both cerebral yet designed to make you move.

Last of all, 'Snake Oil' is another fully realised offering which journeys to the edges of the galaxy, with long lingering ambient pads suspending you in mid-air as squelchy synths and shuffling drums keep one foot on the dance floor.
These are three terrific cuts of seriously atmospheric house and techno.

Billy Milligan Trio, 3rd release of the label Lowlife Cartel, collects new ambient music that reflects our present moment. The musical aesthetic is described as a unified primitive/futuristic sound combining features of world ethnic styles with advanced electronic techniques. Predominant melancholic atmosphere, work on textures and hybridation with acoustic inherited by experimental jazz. Its title "Billy Milligan Trio", is a reference to sci-fi book from Daniel Keyes "The Minds of Billy Milligan".
The EP begins with "The Sky Was Pearl Grey" , by Shcaa (Archipel, Sharingtones), track, without beat, a guitar note accompagnied by a drone lament releases a trippy and introspective atmosphere. A light vocal, by Shcaa himself, comes subty at the middle of this gloomy exploration.
"Useless Man" by Mårble (Hair Del Records) is a leftfield saturated complaint, mixing jazzy and electronic elements. A distorted voice accompagnied by a piano as the key melody. "Para La Olimpiada" by Mårble is defined by fourth world music genre. The release ends with "Toll Fraud", by L:E:R (Archipel), cut from a full electronic live session, oscillating between a minimal beat and slightly evolving ambiance. In its entirety Billy Milligan Trio is a spirograph of uniquely experimental artists merging together to create something even more beguiling. A truly arresting listen.

Sme used to think that here's a guy who's just too cute to be underground, but SEBASTIEN BOUCHET proved them all wrong - with releases like the trippy "Fallen Angel" EP (KOMPAKT 210) or his gutsy contribution to Kompakt's Speicher series (KOMPAKT EXTRA 77). He also had a spectacular appearance on YOU AND YOUR HIPPIE FRIENDS' inaugurating release "A Very Nice Combinado Volume Uno" (YAYHF 01) with the tune "Captain Drag" - which went on to be played around the world, from clubs and festivals to Chanel fashion runways. Now, Sebastien returns with COYOTE CRY, his first full-blown EP for the Hippie Dance sister label: eclectic and unique, this five tracker reflects different sides and moods in his work, but always takes the momentum center stage - from the guitar-infused vocal shaker JAMBE DE BOIS to the heavy-duty bass of JATAGARAZI or the melancholic drive of the glistening title cut.

Following a first vinyl appearance on You And Your Hippie Friends' 'A Very Nice Combinado Volume Dos' (YAYHF 03) earlier this year, Mexican producer PAULOR aka Paulo Rodriguez gets ready for his first solo outing with Hippie Dance's sister label.

Curated by Rebolledo, the imprint has established an impressive talent pool within only three releases, including both veteran and upcoming talent such as Sebastien Bouchet, El Güero, Zombies In Miami, Beyou, Roman Flügel and more. It's a testament to the label's chiselled vision that an idiosyncratic and diverse group such as this is able to sustain individual approaches to electronic music while weaving a coherent sonic tapestry from all its ingredients, the whole quite organically being more than the sum of its parts.

Now, it's up to PAULOR to flesh out his own sound cosmos on You And Your Hippie Dance's latest 12' drop, presenting a concoction of salt-caked beats, riffing guitars and flexing bass that evokes a sense for space and untouched, psychedelic landscapes not unlike Rebolledo's very own desert funk vignettes. After 'La Race' (his contribution to 'A Very Nice Combinado Volume Dos') and the 'Discótico Desértico' remix for Rebolledo's 'Mondo Re-Alterado' (HIPPIE DANCE 10 LP) started making the rounds in tastemaker DJ sets, PAULOR caught a major moment of inspiration while performing at Monterrey's TOPAZDeluxe - which lead to the husky, hypnotic cut PAULOR'S BLUES, pièce de résistance and headstone in one, as it set the scene and also birthed enough follow-up tracks to naturally grow into a cohesive, full-blown EP.

From echo-drenched, beatless opener NEBLINA to the percussion-infused intrigue of DELIRIO EN CARRETERA, the athletic pop minimalism of AMIGOS or the slow burn of brooding mystery shuffle LUCES CALLING, PAULOR creates a unique, atmospheric sound panorama that excites minds and bodies alike. Adorned with a starry night sky, the record's cover artwork couldn't be more fitting - it's a dominant musical vista in PAULOR's work, whose vantage point is not necessarily a specific place (although all tracks were recorded in Xalapa), but a feeling of exquisite duality: the feeling of being lost between the stars, lonely and connected at the same time, a speck of dust and the center of the universe.

Raw formed during the summer of 1990 in Athens, Greece when keyboardist Giannis Papaioannou and percussionist Makis Faros started composing music for imaginary waiting rooms. They combined the traditional cut-up technique of tape-loops, the industrial timbres of musique concrète with the harmonics of world music, all filtered through digital sampling and computer programming. Their first recordings generated an 8 track demo, which was freely distributed among friends and the local underground press. After 6 months of work and several sessions with guest musicians on acoustic and electric instruments, Raw self-released their first album 'Land' in December 1991 on Elfish Records. In 1992 they recruited the band's sound engineer, Coti K., as a third member, both on stage and studio sessions. 'City' was their second album fully inspired by the mechanisms of their home town. Presenting a different electronic face of Raw, manipulating rhythms with analogue synthesizers and harsh sampling to evoke the atmosphere of Athens. 'City' was released on CD only by Elfish Records in 1994. 'Fragments' is a collection of 4 songs from 'City' presented on vinyl for the first time plus bonus track recorded during the 'City' sessions previously released on a compilation in 1992. All songs have been remastered by George Horn at Fantasy Studios in Berkeley. Each copy includes a double sided postcard with photos and notes.

November 5th, 2018 would have been Charles Bradley's 70th birthday. In celebration of his extraordinary life, Daptone imprint Dunham Records is proud to announce the release of his fourth and final album, Black Velvet. Black Velvet is a celebration of Charles Bradley, lovingly assembled by his friends and family at Dunham/Daptone Records. Though chronologically the material spans Charles' entire career, this is no anthology, greatest hits or other shallow rehashing of the songs that already made him famous. Rather, this album is a profound exploration through the less-travelled corners of the soulful universe that Charles and his longtime producer, co-writer and friend Tommy "TNT" Brenneck created in the studio together over their decade-long partnership.
It features new songs recorded during the sessions from each of his three albums, heard here for the very first time in all their scorching glory: "Can't Fight the Feeling," "Fly Little Girl" and the heart-wrenching single "I Feel a Change"; hard core rarities like his funk-bomb duet with LaRose Jackson, "Luv Jones," the psychedelic groover, "(I Hope You Find) The Good Life" and the ever-illusive alternate full band electric version of "Victim of Love"; sought-after covers of Nirvana's "Stay Away," Neal Young's "Heart of Gold" and Rodriguez's "Slip Away"; and the title track "Black Velvet," a stirring Menahan Street Band instrumental to which Charles was never able to cut a vocal.


Charles was truly a transcendent singer who led a remarkable life, overcoming unimaginable adversity to achieve great success and international acclaim very late in his life. What was really special about him and made him different from everybody else in the world was how he understood his pain as a cry for universal love and humanity. He felt that if he loved enough—if we all loved each other enough—we could take away the world's pain and sadness. That is why he jumped off the stage and literally tried to hug everybody he could. It's why he took such great care of a mother that had abandoned him. It's why he sang and danced like a lunatic. It's why he screamed like an eagle. And that's why we love him.


Black Velvet is a celebration of his life, and is destined to join Charles' first three albums alongside the cannon of essential soul records for the ages.

BCee & Villem take on 2 of the finest cuts from Jonny L's 'In A Jungle' album. It's always difficult tacking a remix from such a legend of the scene as Jonny L, but these tracks demonstrate that it can be done.

The neon lights that decorate a dive bar's window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You're behind the wheel, over the edge as the credits roll.

This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A 'conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire's more abstract sides,' as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It's a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

Produced By Johnny Jewel & Nat Walker

Return of the UK producer Allen Saei aka Aubrey on the mighty Barba label is another bold statement in the discography of this well-versed artist. Building on the relationship with the Burek/Barba/Pomalo family established through remixes of Information Ghetto's "Inspiration" track (Burek 2013), DJ Stingray's "Communication System" (Barba 2015) and his solo "Clock Funk EP" (Barba 2017), for this record Aubrey presents us with a continuation of his previous Barba release, simplistically titled "Clock Funk 2" EP. As is to be expected from a guy who's been spending time in the studio for better part of the last three decades, this 12" is pure techno, in the best sense of the word. As mature and consistent as the previous record of the series, we have Aubrey building on that ground and expanding the range into more abrasive and rough on one side, and even more subtle and humane on the other. A1, titled "Clock Funk 2" is among the subtle ones. Beautiful cascading keys, glitchy synth bleeps and lead lines intertwine into a gorgeous composition grounded by a driving bassline and counterpinted with distorted ride cymbals. Uniquely sounding track which draws influences from many corners of the planet. A2, titled "Sel Moulo" sets a point for the other side of the spectrum. The heaviest and roughest, it locks the frame in which this EP works. Direct, abstract and firmly aimed towards the dancefloor, this cut is for the peak moment of the night when its combination of jacking beats and trippy leads will just push the craziness off the edge. B1, the most humane and gentle track on the EP, "Triads" is a perfect match for the A1 cut, although slower and calmer. Again, the similar approach is used, where the perfectly tuned combination of small synth and keys elements form a complex image which will stay ingrained into anyone's mind once you play it in the right moment. Again, it's hard not to reach for the word "beautiful" when describing this one. B2, Ghost Mist, is on the other hand a match for the heavy A2, but also not as intense. A repetitive affair, with abstract synth lines and disharmonic pads serving as an emotion injection just when they're needed. Common thread moving through all four cuts is an infectious groove intertwined with synth lines that would not be misplaced amongst the best examples of space-influenced techno music firmly grounded on the floor. All that, pressed onto a heavy duty 180 gram vinyl and beautifully packaged in an original artwork by local artist EmaEmaEma.

Black Sun Records returns with a monster collaboration from Unhuman & Surit. Unhuman is best known for his contributions on labels such as Instruments Of Discipline, Liber Null & Veleno Viola among many others, his sound running the gamut between noise, power-electronics, EBM & techno; Surit is better known as one half of NX1, recently releasing some solo remixes on his own Nexe Records label and on some others. Together they deliver a powerful 4 track EP, opening with 'Moral Poverty', a perfect driving track with fat bass, metal percussion and layered pads that trap you from the very beginning; next is 'Surrender', a twisted break-cut full of character, complex yet effective, a mind-warping, beautiful journey. Turning to the B-side, the track that gives name to the EP 'Impact Bashing', delivers pure, raw, industrial- techno, oppressive, incisive & brutal. 'Precipitated Paranoia', closes the record, a higher bpm techno cut, defined by the power of the drums and held in tension by jittering, nervous synths.

Our good Parisian friend Max Fader aka S3A is back on Local Talk with a diverse four track EP that delivers on all levels.
It all begins with 'Premiere Rexidence', disco infected big room track that comes with some heavy vocal and horn samples.
Next up is 'End Track For a DJ' which is exactly what the title suggest and comes with old school house beats, classic Chicago piano riffs and some lush strings. Massive!

On the b-side S3A goes back to what he is maybe most know for, 'Searching Force' is an uplifting disco-funk house jam with big samples and jacked up beats.
Last, and possibly our fave tune is 'Deep Mood Vol 4', a supa deep house cut with low end theory chords and a bassline to kill for...raww!
Oh, and those Michael Watford vocal samples just adds to the deepness.

Electro master Dez Williams joins the Discos Atónicos camp for the label's 4th installment and delivers 5 dystopian cuts infused with his signature sound - crunchy bass lines, spaced out drama, alien funk and a touch of acid. Strongly recommended!

Hailing from the north of England, he is no stranger to the global electronic music scene yet prefers to stick to the underground and stay true to his own artistic and creative spirit.
Dez started releasing in the early 00's and has tracks on such labels as SCSI-AV, Cheap, Bass Agenda, Earwiggle, Killekill, Mechatronica, Bedouin, Shipwrec, New Flesh as well as his own imprint Elektronik Religion.

Double LP on heavyweight 180 gram audiophile black vinyl in a wide spined sleeve with new artwork layout. Re-mastered by John Rivers at Woodbine Studios especially for vinyl release. Includes a bonus track not on the CD version and new artwork design. Never has a record been so aptly titled, or so perfectly descriptive of a band's particular vision of the universe. For all that, the original appearance of Taking Drugs was in fact a bootleg on the semi-legendary/semi-notorious Father Yod imprint in 1990, later supplemented with contemporary outtakes and cuts for the Bomp reissue in 1994 and one further song for the Space Age version in 2000. The original seven tracks, dated January 1986 and the first recordings to feature Pete Bain on bass, are collectively known as the Northampton Demos, understandably named for the recording location in a studio outside said English city. Both Sonic and Pierce have been on record as long preferring these takes to the eventual versions that surfaced for the most part on Sound of Confusion. Certainly it's a fine set of performances, showing a definite step toward the more familiar sound of the group and away from the rougher takes on For All the Fucked Up Children of the World. "The Sound of Confusion," aka "Walkin' With Jesus," rips along with fierce energy, Pierce's singing and the rampaging, primitive wail and rumble of the band just wonderful. "Losing Touch With My Mind" takes things to an even higher level, a huge wallop of feedback and beat (Natty Brooker's drumming in particular delivers just what the doctor ordered), Pierce delivering the lines with a flat, cutting drawl. On the slightly lighter tip, "Come Down Easy" is more or less fully in place (aside from singing about it being 1986!), possessing a more upfront but less vocally distinct feel than the Perfect Prescription take. The tracks that surfaced on the later reissues come from a variety of different sessions, including the original take on "Feel So Good" and a good live version of "Things'll Never Be the Same," one of several cuts featuring Brooker's drumming replacement Rosco.

Symphonical Records has the peasure to announce it's 5th release & first time working with a contemporary group to promote the new 'Modern Soul' movement. E Da Boss (Myron & E/Pendletons) & Ishtar team up as 'Lucid Paradise' for their second release, produced by non other than Russia's finest, 'The Soul Surfers'. 'Tonight' us the accunzkatuib of two Bay Area sizk aficianados coming together to create a smooth & crisp, timeless yet modern cut. Written alongside UK's pioneering soul singer Gizelle Smith, 'tonight' epitomises the talent of contemporary soul acts worldwide. Following on from their fist release in 2015, a 4-track boogie EP with London producer 'The Whole Truth', 'Lucid Paradise' return to formly set their standing as a duo to watch out for.

In the expansive sleeve notes accompanying this superb triple-album, Analog Africa founder Samy Ben Redjeb accounts, in great detail, the epic tale of Dur-Dur Band, a Mogadishu-based deep funk outfit that took Somalian radio by storm during the early 1980s. It's a remarkable story, all told, but nowhere near as remarkable as the music contained on this essential retrospective. Redjeb has managed to license both of their previously cassette-only albums, stretching them across three slabs of wax. Brilliantly played and performed, the songs mix killer American and African style funk grooves with hooky Somalian vocals, spacey synths and occasional nods towards other styles (most notably reggae on later period cut "Diinleeya" and Juju on "Salkuu Dhigey"). Simply essential.

Format: 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, sticker, liner notes - First ever reissue of important Swiss jazz album Stuff Combe 5 + Percussion by Stuff Combe available on 180g vinyl mastered at half speed, with liner notes by Alain Morisod. - For fans of jazz, soul jazz, funk, sci-fi, bossa nova, spaced out sounds, jazz ensembles, collective wizardry, deep solos, Swiss magic, Francy Boland, Benny Bailey, Geneva Tracklisting A1 Space Trip A2 Boss Turquoise B1 Eastern Blue B2 St-Thomas Info We Release Jazz is very happy to present its fourth release (following Ryo Fukui's Scenery and Mellow Dream and Le Cercle Rouge's soundtrack by Eric Demarsan), the official reissue of 1974's Stuff Combe 5 + Percussion, a hard to find soul jazz jewel from a cast of illustrious jazzmen led by glorious Swiss drummer Stuff Combe. The limited edition 180g vinyl LP is mastered at half speed, cut at Emil Berliner Studios, housed in a black and silver Stoughton tip-on sleeve, and comes with liner notes. Recorded in Geneva, Stuff Combe 5 + Percussion finds Stuff Combe conducting an all-star ensemble consisting of Bob Jacquillard on bass, Francy Boland (The Chet Baker Quintet, arranger for Count Basie, Benny Goodman and the list goes on) on piano and electric piano, bebop and hard-bop legend Benny Bailey on trumpet, and Tony D'Adario on saxophone. The sessions ooze with funk, spaced out sounds, breathtaking solos, and moments of absolute collective wizardry. It's soul jazz at its best with sci-fi and bossa excursions! Born in Bern in 1924, Etienne Stephen Jean Gustave 'Stuff' Combe had a wonderfully prolific career, playing all over Europe and the US and working with Buck Clayton, Bill Coleman, Stan Getz, Kenny Clarke, Oscar Pettiford , Art Taylor, Dizzy Reece, and Lucky Thompson just to name a few.

Voller Spaß: Reissue des 2010er-Albums des kanadischen Pianisten; mit zwei Bonustracks. Ein Jahr nach seinem Weltrekord in Sachen längstes Klavierkonzert (27 Stunden, drei Minuten und 44 Sekunden) meldete sich der kanadische Pianist Chilly Gonzales 2010 mit dem Album "Ivory Tower" zurück.
"Ivory Tower" erschien damals zeitgleich mit dem gleichnamigen Film von Adam Traynor, den Gonzales als Drehbuchautor, Produzent und Schauspieler mitrealisierte. Die Musik entstand in Komplizenschaft mit dem Electro-Störenfried Alexander Ridha alias Boys Noize und ist dementsprechend sehr komplex, aber - und das ist typisch für Gonzales - auch voller Spaß. Die Wiederveröffentlichung wird flankiert von De-luxe-Editionen
der schwer zu findenden Gonzales-Klassiker " Gonzales über alles" ("Gonzales über alles - Director's Cut")und "Solo Piano". Das Album enthält zwei Bonustracks.

'Breathe The Machine' is the first installment of Dojostudio and presents a musical world rich in harmonics, low frequency and melodic impact, yet with enough space in between to allow that perfect breathing room essential for powerful dance cuts. 'Breathe The Machine' portrays a world that initially feels robotic, yet instills an organic fluidity known only to come from humanoid beings, breathing life into a system littered with code and coldness. Billy Dalessandro presents 3 original cuts, plus a rendition of the title track by Mike Shannon.

Both for 'Breathe The Machine' and 'Tractor Beam' the Waldorf Microwave XT 2 and the Jomox 888 were the primary sound sources. For 'Breathe The Machine' the 888 was processed through a Jomox T-Resonator, which added harmonic distortion, and also spread the stereo spectrum out a bit offering the drums a more washed-out feel. The XT was layered track by track by performing patterns live into an editor until the desired ideas were properly recorded. Mike Shannon was brought on board to offer a contrasting expression of 'Breathe The Machine' and when asked how the process went he stated:

"I took the source sounds, edited them and processed them to work with a groove I had written for this remix. I mainly used the pad, lead synth and synth effects from the original. The rest of the gold I engineered."

On 'Tractor Beam', subtle use shows that ample space in between ideas make things seem larger than life. By allowing a more minimal approach in the production process the sounds can easily co-exist, allowing for that 'big room' sound without overwhelming the overall experience.

The digital exclusive 'Deliverance' was created using NI's Maschine for the drums, and FM8 and Reaktor were the sources of the synths. Drum patterns were created in Maschine and then recorded in realtime back into the DAW as it played, with real-time tweaking of the hi-hat to create the desired impact, especially at the break. The synth and pad patterns were recorded as MIDI into the editor, and then automation of the synths' VCF rounded out the expression needed to complete the emotional process.

All in all, DOJ001 is mostly an all-hardware showdown, with 'Deliverance' being the only 'virtual' attempt. Life is in nature, not in machines, yet the culmination of the two worlds can be beautiful, if only properly tamed and understood. Lest we beware! Stay tuned... and thanks for listening!

Pleasure In Mind Records Presents It's First Vinyl Only Release. This Various Artists Includes Four Tracks By Different Producers And Aims To Showcase The Variety And Scope The Label Has Built Up Sonically. From A Housier Track By Argentinian Prodot, Going Through A More Tech And Minimalistic Groove By U Z Z V, Passing By An Experimental And Ambiental Cut By Duky To An Organic Breakbeat From Max Tolmachev & Dnlk, Pimrv001 Brings Together A Combination Of Sounds Ideal For Any Situation Or Setting.

Boofy hails from Bristol's fine heritage of progressive bass music producers. Having made a name for himself as part of the Bandulu crew and his own Sector 7 Sounds imprint, as well as dropping killer releases on Innamind Recordings and No Corner.

Lucky for us, he's saved some of his deepest, heaviest hitting cuts for Tectonic! This 4 track EP is a masterclass in minimal effectiveness, with rhythms ready to set the dancefloor off that reveal ever deeper subtitles on repeated listens.

'Back In The Box' sets the pace with swinging hats, thumping kicks and a bass line that will sound like an earthquake on the right system! Follow up for 'Herbie' which takes things in dissonant direction, before dropping hard and with authority.

Flip then for the EP title track, an exploration around the paranoid edges of a creative mind, stretched to capacity. Finally the EP closes up with 'Perfunktion', a rolling rhythm with a lighter mood, somewhat reminiscent of Mala circa 2006. Quality stuff from an excellent producer who is going from strength to strength right now.

DJ Support from: Kahn & Neek, Mala, Tubby, RSD, Joker & many more

Making his first appearance on the label, Argy lays down a three-part heavyweight production for Crosstown Rebels this October. The Greek producer effortlessly showcases his unique style and ability to create music that is sure to create heat on the dance floor.

Title track Worthless opens up the EP with a bouncy groove and sensual, breathy male vocal. Next, La Vida introduces a more percussive-led beat, creating an industrial soundscape. Get Ready closes the EP with its darkly hypnotic beat, lending itself to a more tribal aesthetic.

The word 'diverse' is most definitely one that can be used to describe Argy. Having been in the game for more than a decade, he's released music on Poker Flat, Cocoon, Objektivity, Desolat and Cuttin' Headz. He's worked alongside a range of key figures in the industry including Kerri Chandler and Manuel Göttsching. Argy has proved his prowess as a DJ holding down residencies at Amnesia, Space, Destino and Pacha as well as regular appearances at Berlin's Panorama Bar.

Welcome to JANX Records' first release. The debut EP features Kevin Over, Sarp Yilmaz, Frag Maddin and Boj Angler. Four friends and four cuts of naughty sample-based house music. All tracks recorded with love in Berlin, Istanbul, Essen and Ibiza. Available as digital release as well as strictly limited vinyl with silk screen cover art, hand-printed and packaged by the artists themselves. Vital Sales Points: Various Artists EP featuring Sarp Yilmaz (Istanbul) with former releases on Apparel Music, Swink Music Kevin Over (Essen) with former releases on e.g. Madhouse Records, 4Lux, Rough Recordings Frag Maddin (Berlin) with former releases on e.g. Madhouse Records, Upon.You, Kakudo Records, etc. Boj Angler (Ibiza) with former releases on Esance

With a knack for crafting up-front, jacking house music, Danish producer Niles Cooper proves he's right at home with the Super Tuff family. Just after his first release on his own Pale Springs imprint, his follow-up EP for Brooklyn's Super Tuff appropriately pays homage to its NYC influences. The title track "House Gospel" is a heartbreaking peak hour track full of old-skool NYC garage flavor. It is impressively followed by a remix from Berlin's Black Loopsia certified deep house belter. On the B-side, "Floor Juuc" is a rolling early morning chugger with a bassline reminiscent of "I Get Deep." Rounding out the record, Cooper shows his versatility with "If We Try We Can Start Anew" jumping into darker DnB territory with well-cut breaks and moody ambient chords reminiscent of Burial. Welcome home Niles!

Danish producer Asmus Odsat debuts on Iceland's FALK DISKS with four leftfield dancefloor cuts entitled 'Ecstatic Half Truth' this September.

Before moving to Iceland, Asmus Odsat was a key figure within Copenhagen's electronic music scene for nearly a decade. A former resident at Culture Box, Odsat was also co-founder of Ritual Malmö as well as the BULK club night, which has hosted artists like Surgeon, Dasha Rush, Lucy and Sleeparchive. Odsat now joins FALK DISKS, the club focused sub-label of FALK Records (Fuck Art Lets Kill) with his 'Ecstatic Half Truth' EP, receiving early support from names like Courtesy who included it in her guest mix on B.Traits' BBC Radio 1 show.

'Deal With It' sets the tone of the package with frenzied synths, warped atmospherics and a crunchy kicks before title track 'Ecstatic Half Truth' delivers a cacophony of percussion alongside twisted melodies and off-kilter breaks.

Up next, fast paced arpeggios meander alongside metallic top lines and a filtered 303 that unfolds throughout, making way for 'Soften The Clocks' which rounds off the package utilising disjointed rhythms, intense acid sequences and thundering low-end throbs.

UK born, Philippines based producer Scape delivers two sublime ambient breakbeat epics, expertly cut onto limited edition orange vinyl.

'Dancing In Outer Space' is a certified jazz-funk classic from a legendary band! 12" vinyl, cut loud at 45rpm.

It sits at the pinnacle of the underground UK dance scene that went on to have a global influence. Stateside, the track had big support in clubs such as the mythic 'Paradise Garage' and 'The Loft' by the likes of Larry Levan and David Mancuso. An instantly recognisable anthem that is just as fresh today as it was when it was first released.

Spectral Empire are George Thompson (aka Black Merlin / Karamika) and Kyle Martin (Vactrol Park / Land of Light). With the release of Iron Muscle they are celebrating 10 years since their debut ep Innerfearence saw the light of day in 2008 on the now defunct THISISNOTANEXIT record label. Legend tells all track were made around the same time (2008-2009), at what was back then Kyle's studio in Archway, London, however opinions remain divided over the validity of this info. What is remembered for a fact is that they'v used practically every home appliance and improvised noise they could find, record and harness, in order to create the feeling of what they describe as a ' Robot walking' for the title track Iron Muscle. Anything from kitchen drawers to DVD's and cutlery was sampled and then drenched in effects and manipulated in order to create what came out as a cinematic futuristic piece to dive into again and again, a soundtrack for an unwritten sci-fi movie, or just a dramatic soundtrack for your everyday lives.. With See the invisible, rules do not apply. An arpeggiated groove sitting on a steady half time 60bpm beat, its like the perfect soundtrack to the perfect car chase. Mediterranean riverbed guitars- not-guitars, sirens, and a heavy (dreamy) atmosphere fill the voids and keeps the track pushing forward throughout... The 4th track on the record is a never before seen the light of day epic remix by Die Wilde Jagd, that back then still included Ralf Beck (Unit 4) as an active member of the band (back when they were still known as Der Rau¨ber und Der Prinz). The release will be a vinyl only release, and is already getting massive support from the likes of Vladimir Ivkovic, Michael Mayer, John Talabot, Red Axes, Manfredas, Trevor Jackson, Lena Wilikkens, Man Power and many more...

Body Music (Bosq and The Rapture's Vito Roccoforte) return with another dose of 21st century mutant-disco and nocturnal New York swagger. Following up on their lauded Just One EP (Razor 'n Tape), the new two-track 12" delivers on the epic stomp and punch of that debut with two instant classics.

A-side 'Don't Think Twice' is a tightly modern and muscular re-imagining of some long-lost Paradise Garage-era gem, replete with head-snapping claps, an expansive sonic palette and full strut groove.

While, low-slung flip-side 'Give My Love a Try' rolls on a flirtatious arpeggiated bass-line and gasps of steamy synths that make it the perfect vibe to open or close a party. Lending soulful and sultry vocals across both cuts is Christian Holiday.

Holiday darts in an off the slick synth stabs and bouncy live-drums of Don't Think Twice and reaches a yearning falsetto that draws out the romantic swoon of Give My Love a Try, helping elevate the scope and craft of both tracks.

Hooky and virulent, it's a venerated sound that fits seamlessly into sets of Arthur Russell, ESG and Liquid Liquid classics with a crisp and deep production that remains infectiously of the moment.

At parties from Brooklyn to Ibiza, this 12" will no doubt be a go-to slice of wax coaxing dancers to move a little closer all summer long.

Tallinn duo MAVA & NEBUKAT deliver four tranquil cuts on Estonia's LIITHELI, featuring remixes by Leleka founder VAKULA and 1212a alongside label boss ALI ASKER.
Mava and Nebukat have been an important part of the Estonian underground scene for some time, promoting parties and DJing in and around the capital. Their grafting has seen them join up with Green Village producer Ali Asker, who launched LIITHELI in 2016 to focus on local talent with early offerings from himself and fellow Estonian N1MA.
First up, 'Polymer' immediately grips us with rising tension - progressive synth-lines and fluttering percussion becomes the main focus here. 'Ambient Track' provides synthetic luscious melodies harmonising delightfully with the broken-beat drums.
1212a and Ali Asker's remix of 'Polymer' offers a captivating dubbed-out theme throughout, balancing delicate minimalism, with breezy atmospheres. Ukrainian producer Vakula presents a heavenly six-minute healer through precise, fluid pulsations and intriguing, melodic sound design.

Two all time Jazz dancers: Nancy Ames release two great album back in the late 60s Latin Pulse' was first & Spiced with Brazil was second, both Dynamite Cuts is releasing one track from each album to make this limited edition 7' 45 x500 only
club classics
DYNAM7009
Track A - Carcara' Boom, this just jumps right out at you. An amazing Latin dancer. Which also has Dynamite Vocals that just drag you into the song. Nothing but Explosive Jazz vocals, FIRST TIME ON 7'
Track B - Pow, Pow, Pow' a masterful version of this dance floor anthem. Nancy yet again delivers a superb vocal. Perfect sound of the day.
never before on 7' 45 vinyl must have track

RTRN II JUNGLE , the forthcoming album from UK DnB heavyweight trio, Chase and Status, is a cultural movement - inspired by British music and fashion of the golden years of Jungle music from the mid-late 90's. The two opening singles speak volumes on the project's ethos - with the hard hitting 'Retreat' ft. Cutty Ranks echoing in your ears long after hearing and the euphoric 'Heater' taking on the role of a single that already has the makings of a classic - with additional vocal support from General Levy.



The sound, project and accompanying documentary and installation, will draw on Jungle music whilst also transporting it into the present day, and re-vamping the genre for the modern day music fan. 'We will be representing DnB at it's most soulful, raw, and uncut level' (Will Kennard)

The news comes with a brand new documentary from the trio, filmed in Jamaica earlier this year, which has just been premiered by Redbull.

Kalita Records and CC:EDITIONS (a new venture by
Australia's CC:DISCO) jointly announce a 12' EP
comprised of four of Nana Tuffour's greatest electronic
burger highlife tracks, accompanied by interview-based liner
notes. Here, in partnership with Nana, we select two highly
sought-after songs from his 1993 release 'Genesis', namely
'Sikyi Medley' and 'M'Anu Me Ho', and pair them his with two
lesser known yet equally deserving tracks 'Asamando' and
'Jesus' from his 1997 CD-only release 'Highlife Tropicana'.
Hailing from Kumasi, the capital of the Ashanti region in Ghana,
Nana Tuffour is by far one of the most important exponents of
modern highlife music. He studied piano at college and cut his
teeth in the '70s as an organist and vocalist for the incomparable
Kyeremanteng Atwede and Dr. K Gyasi's Noble Kings Band.
Fast forward to 1981 and Ghana was at the apex of its golden age
of music. This era was brought to an abrupt end by political
upheaval when the military took over the government and as a
result a restrictive dusk to dawn curfew was imposed between
1982 and 1984. This resulted in a total obliteration of the country's
night life, and Nana just like many other prominent musicians
including Pat Thomas and George Darko left Ghana for greener
pastures, the most popular destinations being Nigeria and
Germany. The Rheinklang Studio in Düsseldorf run by a young
inimitable German sound engineer Bodo Staiger and another
'exiled' Ghanaian musician Charles Amoah played a crucial role
for those musicians who had chosen Germany. This studio
became the focal point for Ghanaian musicians and the birthplace
of a new sound, now known as 'Burger highlife' - traditional
Ghanaian highlife infused with the more up to date electronic and
disco sounds of the West. It is arguable that Nana has played a
crucial role in Burger highlife and developing the sound of
traditional Ghanaian highlife more widely to what it is today, with
his innovative use of electronic accompaniment pushing its
boundaries to its creative extremes.
It is Burger highlife's transcendence of traditional musical
boundaries that helps make it so accessible to listeners,
appealing not only to Ghanaians back home but now highly
regarded and sought-after by those in the West interested in
more occidental disco and electronic sounds. We hope that you
enjoy the four songs offered here, each chosen to demonstrate
Nana's singular influence on the development of Burger highlife.

A very welcome reissue of one of the highly regarded pieces of music by the great pianist and composer Mary Lou Williams. The concept behind "Black Christ of the Andes" is about the ideal meeting between Jazz and Spiritual. From the dark, smokey atmospheres of the Devil's music to the luminous sound of the African American Church. A very enjoyable record made up of different materials like "Jump Blues" numbers, a cappella choral pieces and some striking piano trio cuts. All arranged and conducted by the great Melba Liston and featuring performances of Jazz luminaries such as Milt Hinton, Grant Green, Percy Heath, and Mary Lou Williams herself.

Sao Paulo's acclaimed 10-piece instrumental collective return for their 4th album. Urban Afro-Brazilian grooves, empowered horn-driven melodicism and massive dance floor inspiration. One of South America's

most exhilarating musical propositions. Available on CD or Double 180gr Heavyweight Vinyl that includes a digital download. Quebra Cabe a is a very memorable set of hummable earworms, from the title

cut that opens up the album and continuing, sinewy and cool and relentless, all the way to the final note of 'Portal.' Throughout though, the heartbeat of everything remains utterly African, refracted through the prism of the band's

home in the Bixiga neighbourhood of Sao Paulo. And Bixiga 70 has always been a reflection of the streets where they live. The result still captures the incendiary excitement of Bixiga 70 live, but the

freedom of the studio brings more shade and subtlety than before. The rhythms are more sinuous than ever, snaking through the funk in way that looks more to Ghana or Nigeria than Memphis or Muscle Shoals, while the horns strut in

powerful harmonies. It's music that forges connections and retraces history while sounding absolutely contemporary. But for Bixiga 70, African will always be the root, and Brazil its beautiful, vibrant flower.

*Continuing to hone his unqiue production talents, our resident wonderkid SATL is back in full force. His latest EP, Integral 048 comprises five fresh cuts that showcase his evergrowing, vast and intricate production talents. Featuring two independent collaborations with New Zealand's finest vocal talents, Lips and Tali, this package of supermusic has all the vibes covered, from soulful anthems to futuristic flavours of breakbeat heaven with plenty of deep rumbling bass in between!

Make sure you reserve your limited vinyl copy now to avoid disappointment!

Phonogramme, the house subdivision of parent label and integral Parisian record shop Syncrophone dedicates itself directly to the French music scene, with previous releases from the likes of Professor Inc, John Jastszebski, Aleqs Notal and a handful of other local heads. Phonogramme continues to keep things close-to-home through the labels next edition presented by Gibs, who's most notably known for works on his own imprint, 'An.Art Records' - a family run label with music shared by himself and his two brothers.

'Find an Oasis' kicks off the release with rolling organic percussion before progressing elegantly into layered emotive lead synths and mellow bass stabs. 'Jarkarta' is a subdued deeper house cut, filled with an uplifting, undulating melody and raw lo-fi elements collectively creating a luscious calming effect. Last up, 'Der Germain' offers up a fluid, groove filled number balanced with charming, jazzy flutters and tender keys providing a warm, breezy atmosphere to the end the release.

Bowman Trio returns with a strong double-sider 7". The trio delivers their trademark loft jazz with remarkable energy and swing on "The Chase (Version 1)" and "The Hillary Step". Both are fresh studio cuts which serve as tasters of the Helsinki trio's new music in anticipation of their second full-length expected to be released in 2019.

The 7" vinyl version comes with beautiful "old-school" heat-pressed label and generic brown sleeve.

Comma And A.fruit Land Two Unadulterated Bangers On Rua Sound, Backed With The Unmistakable Sounds Of Tmsv And Itoa On Remix Duties.

Oakland's Comma Roars Out Of The Blocks On His Rua Debut With A Crushed-up Glitchy Cut Entitled Gasworks. Comma Rams The Heavier End Of The West Coast Beat Scene Into The Uk Hardcore Continuum, On A Track Buzzing With Furious Energy.

If You Don't Know Itoa Yet - It's Time To Catch Up. Exit Record's Latest Addition Brings His Singular Production Style To The Remix With Whip-sharp Drums, A Colourful Sound Design, And Fresh, Unconventional Arrangements.

A Producer In Ascendency, Russia's A.fruit Serves Up The Darkness On The Flip With A Stepping Growler, Sodden With Bass. Her Production Is Tightly Bound Together By D.e.'s Intense Vocal And Delivers A Punch.

Rua Regular Tmsv Picks Up The Pace On The Remix, Rounding Off The Ep With Dancehall-infused Dread-rave Vibes, Like Only He Can.

Support From Deft, Fixate, Tim Parker, Breaka, Mister Shifter, Dolenz, Yorobi, Executive Steve, Coco Bryce, Hyroglifics And More.

The Suedehead Sound Of The Early 70's Followed The Skinhead Style Of The 1968-70 Period.
The Notable Difference Could Be Seen And Heard, The Sharp Jerky Upbeat Rhythms Were Slowing Down A Notch To What We Soon Be Calling That Early Reggae Sound.
The Tougher Harder Look Of The Rude Boy/skinhead Style Was Relaxing A Little To Almost Meet With The Less Frantic Rhythms To A More Slowed Down Groove Like Sound. The Hair Got A Little Longer, Going From A Mark 1 To A Feather Cut Style..
The 'rude Boy Out Of Jail' Type Lyrics Were Becoming More Conscientious, This Was Another Twist And Turn In The Ever Evolving Sound Of Jamaican Music,
But What Is Sure The Artists And Producers Never Disappointed Us In This Period , So Here Is A Compilation Of Some Tunes That The Suedehead Crowd Were Grooving To....
Hope You Enjoy The Set....

*Another UK roots reggae treasure unearthed by Partial Records in the shape of
Mikey Mystic's` Burial' which originally appeared on the CD version of Mikey's `Warzone'
album on Roots Records in 1994.
* Produced by Nick `Manasseh' Raphael, who back in the 90's was running Manasseh sound system and also the label Riz Records, along with Gil Cang.
* First time on 45 for this gem, backed with a Manasseh dub cut.
* Tracklist:

* A UK roots / dub classic produced by Riz All Stars aka Nick Manasseh and Gil Cang (Tuff Scout) with Time Unlimited member Orville Smith on vocals.
* Originally released on the 'Who Gave the Permission' Riz Records compilation LP in 1995 and then remixed for Orville's 'Walking on Tightrope' set in 1996.
* Crucial roots fodder with blazing horns and tasteful flute.
* These are the original vocal and dub cuts.

Polish producer CYD joins the ever impressive E-Missions with six leftfield cuts in 'Disassemble Yourself' EP.

Launching in New York last year, the first three E-Missions releases came from co-founders P.Leone and Caiazzo. Since then the label has relocated to Berlin, developing its roster throughout 2018 with quality releases coming from Tred and Rush Plus that further cemented the label's growing reputation as one of the most interesting labels to emerge in recent years. Joining the roster now, CYD aka Karol Kazmierzewski has been making music under various aliases for the best part of two decades and has developed a versatile yet distinct sound as a result.

Swelling synths and grainy effects open the release in 'A Warmness You Can't Touch' before moving into the downtempo beats and scintillating melodies of 'Halcyon Dreams'. Up next, 'One Winged' ups the energy with crashing percussion, twisted effects and serene female vocals, making way for a layered composition complete with echoing atmospherics titled 'Hidden In The Forest'. With its dystopian aesthetic, 'Initiation' is the most ominous on the package, whilst 'Not So Shallow' incorporates chopped samples and quivering chords for a hypnotic conclusion.

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

Johnny Island is back on Planet Rhythm. This release contains three acidic techno cuts and a track that leans more towards the percussive side of the spectrum.

We welcome back Lenson with his first solo-EP for the third release on the Revenge Techniques imprint. Being with the label since the very first Paling Trax output, Lenson counts among the best in the young, cutting edge techno producers from Rotterdam. Highly essential club traxx!

Moritz Simon Geist, media artist and robotic musician, publishes his first record. It is the world's first techno record played entirely by self-made futuristic robots. This is the 4-track EP to the following full-length album out 16. Nov. 2018. All of the sounds on his records are played by robots: small motors that beat on metal, futuristic 3D-printed robo-kalimbas, salvaged parts from old hard drives that click and cut. It took Geist several years to build, tweak, test and play all his DIY robotic instruments. His 'Sonic Robots' try to push the boundaries of the imaginable. He did so already in 2012 with his well-known oversized 808 robot - an iconic drum machine gotten real, 4 by 2 meter, filled with robotic parts which play the instruments live and in front of the audience. Now, Moritz Simon Geist goes even further to discover the unknown and futuristic world of techno robotics. For this quest he teamed up with the berlinian sound wizards from Mouse On Mars and dug deep in the history of mechanical music and experiments of early electronic music.

On the 4-track EP 'The Material Turn' Moritz Simon Geist turns materials into sounds. The opener 'Entropy' is a bassy club-track, played by futuristic bass-kalimbas, a psychedelic pattern of tonal glasses and pneumatic hi-hat patterns. It is core piece to this EP and is also featured in the main video. Even without a visual part, listening to his music, a sound world opens up which is unheard before: in definition, reference and organic nature. Geist: 'When you listen to robots playing, you realize, that they sound precise, but in contrast to digital sounds they transport an immense organic feeling. No beat is like the other, everything is played with actual acoustic physicality and thus actual error. On the same time, the repetitive nature of the robots make it perfect for playing electronic music. Its industrial and organic at the same time.' The second track 'Under Deconstruction' is a metal-on-metal slammer with a heavy beat played on a big sheets of metal. 'I often try to compose a track around one instrument', explains Geist, 'letting the sounds take a lot of room so they can stand out.' The B-side starts with 'Supercharged' - a heavy drone, reminding of the darked sides of music concrete. Here, tuned air fans, and a metallic percussion robot create the texture. 'Detok' closed the EP with an up-tempo club track, featuring complex rhythmic textures and well defined robotic percussion elements. What Moritz Simon Geist came up with is a stunning record of what is possible today - to explore the sound of mechanics that keep on filling our world. Geist creates a smashing soundtrack for both the precise automation and physical fragility that shapes today's society.

Greg Belson is a veteran DJ and one of the premiere collectors of soul music worldwide. He's known as the go to authoritarian for Gospel Soul music, is the compiler of the Divine Disco series on Cultures of Soul and presents his radio broadcast Divine Chord Gospel Show on LA's creative hub.
and Paulo Fulci is a DJ and producer out of Bristol UK. His work as part of the Situation edit crew has been released and supported as part of the underground for many years....he now spends his days slangin' records, whilst honing his disco scalpel skills in the late twilight hours.Following on from their incendiary slab of two sided gospel goodness 'Born Again' & 'Soul Revival', the Divine Situation duo have crafted the next lot of bangin' spiritualized dancefloor destroyers for your record box.
Here we have an EP catering for several sides to your night. The lead off cut is the flat out roof raiser 'The Problem Solver'.....then it's boogified territory with 'Brand New Feelin', before they close out with the end of 'nighter, 'Try Love'.
Once again, Moton bringin' the heavyweight platters that matter!

About The library Tool Kit' Series The New Sub-label From Wncl Recordings Features 12 Short tools' Per Release, For Use On Discotheque Sound Systems And Home Stereos Alike. Released On 10' Vinyl With Digital To Follow At A Later Date

About This Record Jane In Palma (the Artist Previously Known As Don Froth / One Half Of Bato Bato) Graces The Tool Kit Series With A Selection Of Jazz And Latin Cuts And A Flip Side Full Of Live Conga Jams

It was like a bird of rarest-spun heaven metal or like silvery wine flowing in a spaceship, gravity all nonsense now - Anthony Burgess, A Clockwork Orange

After their LPs 'Ike Yard' (also known as 'A Fact A Second' Factory America, 1982) and Nord (Phisteria and Desire, 2010) Ike Yard delivers their last album 'Rejoy' on Noiztank, 2018 as the culmination of their recent years reinvented sound. As the perpetual flag bearers of the cutting-edge post-punk spirit, the NYC- based band shows muscle in a LP fully loaded with abrasive synth pads, scrap metal percussions, and whispered vocals. Following the previous criteria of 'Sacred Machine' 2017, it is worth to remark the inclusion of external vocals in the pieces 'Sister M' and 'Beyondersay', which feature Yuki Osaki and MAYa. The nine tracks move through different atmospheres, tensions and moods that would perfectly represent a new contemporary soundtrack of the S. Kubrick film 'A Clockwork Orange', a major influence and source of inspiration for the group this time around.

33 years after it's first release Rick Clarke's street soul simmerdown on Local Records, 'Love With A Stranger', gets a much welcomed official reissue, lovingly remastered from the original tapes.

Just peep that OG artwork to get a taste of how this one's about to go down. Written and produced by John Collins, known for producing The Specials - 'Ghost Town', 'Love With A Stranger' perfectly encapsulates that '80s street soul sound. Distinctly soulful, synthy slow jams, heavy on the bass with a touch of the low-slung, lovers rock vibrations about them. Rick Clarke's sultry sweet nothings weave their way irresistibly through this five minute gem, but for those that want to provide their own rendition over the top, the dub has been affectionately cut to the flip.

Top tier tackle - reissued to serenade red dressed souls the world over once more.

The Rapture's Luke Jenner ventures firmly into the dance floor, this time in full force, on Glittering Jewel, the Brooklyn-based producer's debut EP under his Meditation Tunnel guise. Following his initial outing, La La La, on Life and Death's vinyl-only sub-label, Blitz Series, Glittering Jewel sees Jenner step up with three outsider cuts, dripping in personalit Cloaked subtly into the backdrop, Jenner's unmistakable croon features throughout the disk - a highlight across the board. While dilapidated drum machines, crunched beyond recognition, propel the record into techno territory, Glimmering Jewel retains the artist's bespoke youthful sense of blue-eyed naiveté. Red Axes come through with an unclassifiable, stripped-down reinterpretation of Fire Fly, the perfect pair to deconstruct and re-contextualize the original material. Carefully pressed on high-quality, transparent vinyl, LAD039 stands as a testament to the label's shifting auditory ethos. Artwork by Michela Picchi.

Envee kept us waiting for his album a little bit too long, but our patience finally pays off - "Time & Light" drops later this year! But before this happens, we got an appetizer for you - 4-track vinyl EP with tunes that didn't make the cut, but are too good to be forgotten.
It is widely acknowledged that Envee aka "The Bear" is all comfy in club environment, so it was high time to release those four club bangers on a strictly limited (300 pieces) vinyl "Time & Light EP". Two instrumental deep house dancefloor fillers on the A-Side, and two surprising covers on the B-side. The latter ones you may have already heard in Envee's DJ sets - track ID requests were flowing in, so Envee decided to finally spill the beans and put it all out on vinyl.
Cover photos were taken by Filip Blank, Animisiewasz put all the pieces together, Envee did the mix himself and Eprom Sounds Studio is responsible for mastering. Quality guaranteed!

The Strictly Rhythm imprint is legendary and is instantly recognisable by connoisseurs worldwide. It's a label that has contributed time and time again to dance music culture across it's almost 30 year lifespan. Countless classics passed through the NYC offices of Mark Finkelstein and Gladys Pizarro and this brand new 'Strictly Classics' series looks to celebrate this cornerstone dance label and it's immense catalogue by going back to the archives and presenting some double-header action for diehard fans and newcomers alike. That's right, the 'proper' mixes, reissued from source and remastered to the highest spec, each track spread across one side of a 12" for optimal sonic playback.

Number 3 in the series kicks off on a proper old-school tip with CLS' mammoth 'Can You Feel It' from 1991, a collaboration between Todd Terry and Benji Candelerio CLS made a huge and lasting impression with this euphoric and anthemic slab of dancefloor madness. Instantly recognisable from it's ravey riff and funky drum programming, file this one under 'rave classic'! Over on the flip side we have South Street Player's smoothed out '(Who) Keeps Changing Your Mind', a rolling and deep jam from Roland Clark and George Morel that came out in 1993. This one's some lights down, honest to god soulful house music, skipping garage drums and that organ driven groove offer the perfect vehicle for Clark's gorgeous vox to soar over. Yet another set of absolutely essential SR cuts from the archive!

Remastered with love by Optimum mastering, Bristol from original master sources. Made in conjunction with Strictly Rhythm 2018.