Search:j live

180 gram coloured vinyl now at new price Recorded in Amsterdam in 1988, the live Performance documents a set from the Perfect Prescription tour; the emphasis here is on the group's loud, noisy origins -- only the closing "Feel So Good" hints at the more subdued atmospheres and textures which emerged as Spacemen 3's primary focus as they approached Playing With Fire. Among the highlights: "Take Me to the Other Side," "Walkin' With Jesus" and "Come Together." New digipack.

Once again Danse Club Records have unearthed a forgotten and sorely overlooked house track here, then they have enlisted a fine pair of contemporary producers - Sqim and Deepchild - to remix it and bring it right up to date. The original, 'Who's Dick Is This' is a 1994 kicking house bomb by the mysterious Princess Di, who released but three EPs during the 90s on Music Station with this track being the pick of the bunch. German producer Sqim is associated with labels like Exploited and Play It Down and firstly offers up a Ghetto Mix of the track. The result is a big and physical house track with sleazy samples, heavyweight drums and a kinetic energy throughout The warm up mix by the same man is a much deeper affair, as you'd expect from the name. This one resides in a much warmer and more inviting groove and is coloured with deft synths as it slowly builds in phases. The elastic vocals dart about above the drums, bringing with them a lively sense of soul and funk before Deepchild offers his own two unique versions.From quirky, stripped-back techno injected with soul to deep, dub-inflected excursions, Berlin based Australian Deepchild can do it all. Here he offers his 'Cockumentary Retug' a ragged and raging techno version riddled with spoken word samples culled from a documentary about penis size. Its dark and involving and sure will get great reactions on the floor. The final version is a straight dub that journeys in a heavy groove, has some weird spoken word snippets melted into it and is lit up with some celestial synth patterns in the latter half.

clear vinyl pressing!
Soundtravels Recordings proudly presents "Point Of View Part 1". We have compiled six contemporary, electronic bombs from artists all around Europe.

For some we didn't have to travel that far though...

The Hagues Baz Reznik provided us with "Nightdrive To Stuttgart", a moody, sinister track with that typical raw Reznik sound and a melody that will stick in your head for days after you first heard it.

Amsterdam based Arctic Boogie boss Endfest came up with another killer, "Von Heijden En Verre". Almost ten minutes filled with frosty synths and arctic melodies, accompanied by an ever present, very sophisticated 303 which peaks halfway the track, shivers!

Our last, but not least, Dutch contributor is Rotterdam based Louis Guilliaume who you might know from several straight forward techno releases on various quality underground labels. "Promiscues" is a rough edged, energetic track which fits somewhere between Detroit techno and Dutch Westcoast elektronica. At the end of 2013 he will release the "Unknown Forces EP" on Soundtravels.

Okay, now we fly all the way over to Croatia for Le Chocolate Noir with "Futu.e Is B.ight". A short but powerful EBM track with vocals from the man himself. Dark industrial mechanics accompanied by a threathening bassline, but no need to worry... cause Futu.e is B.ight! In 2014 he will release his first EP on Soundtravels.

Next stop... Düsseldorf. After discovering Dircsen's tracks we definitely had to have him on board. The first result of that can be heard on his astonishing "Aspiration EP" (Soundtravels 003). This guy keeps on producing his solid, high quality electronics and shows us his love for the TB 303 machine in a brilliant way. "Exist" is actually a downtempo dubtechno track but off course it has a fierce 303 all over it. Timeless again. Early 2014 his second EP named "Acid Wheel EP" will be a fact.

New to our family is the Russian Neotnas. He makes his first appearance with "Rewind". Typical for his sound is that warm, organic feel all over his house and dubtechno productions. Very often accompanied by female vocals and it's almost like you hear somebody play a live instrument if you listen carefully. At the end of 2013 he will release his "Slow & Steady EP".

It's always a treat here at Circus Company to be able to shed the light on a lesser known talent. After all, it's a philosophy we have built the label on, but there's no denying we need to have that personal connection with the artists whose music we release. In the case of San Francisco act Moniker, our own dear Dave Aju has a previous history with Kenneth Scott from the duo, having lent some vocals to his 2009 jam 'What Do I Do' So it is that we come to release this, the first fully fledged vinyl offering from Scott and his studio partner Emilio Orlandi after years spent treating Californian crowds to their live, hardware-driven sound. The machines definitely rule the roost in the world of Moniker, but unlike so much of the current obsession with analogue noise and the lo-fi aesthetic, Scott and Orlandi instead coax heartfelt emotion and hand-crafted grooves from an array of beat boxes and synthesisers without making any self-conscious moves to demonstrate how .undigita' they are. Instead, the music takes priority, coming forth in soothing waves of harmonious chords, captivating leads and understated drums that speak volumes for simplicity and soul within deep house. The live aspect of Moniker's mission undoubtedly shines through, manifesting itself in smart switch-ups and breakdowns, impulsive edits and subtle variations that can only result from an on-the-fly jam. Mainly though, this is an exercise in satisfaction, speaking to the same pleasure neurons that would have been tickled the first time you heard Metro Area. In keeping with the warm tones of the original material, Patrice Scott makes for a thoroughly welcome addition to the fold.

Darshan Jesrani's new project Funn City continues to break open the notion of modern vs. retro and challenges the listener to categorize what is found inside. Extending the experiment in modern disco without re-treading already explored ground, Funn City offers a playful and rebellious approach to the recombination of old and new. Funn City sticks lightly to the fusion of live and electronic instruments, and heavily to its varied influences from rock and r&b to house and techno, yet casts them in a delirious, neon-lit sheen. 'All-Night People,' the project's first offering, is a relentlessly-upbeat, vivid, saturated trip of a maxi-single inspired by that liminal area of late-70s dance music which existed between shitty, bluesy rock, new wave and disco. Otherworldly, gurgling synths surf atop truncated, slashing guitar and thick, pattering congas. Taut synth sequences spar with sinewy lead lines and trashy vocals, bound together by a precise, modern sensibility, enticing you to waste your time inside a glorious, pinball machine dream. The dub on Side B works most of the same features but empties out the arrangement and infuses the mix with a bubbling, techno-inspired sequence and phaser-licked synth to create a new, more streamlined groove for the track-oriented dancefloor and style of play. Startree is proud to present this first release as a mission-statement in musical form and an indicator of things to come.

With their debut album on Hamburg's taste making hafendisko, Deo & Z-Man proceed their research in contemporary electronic music beyond stylistic boundaries and present a wide-ranging lucky bag of songs. The Italo-rooted brothers melt influences from modern House music, HipHop, Electronica and even jazzy elements into a fresh and life-affirming total work of art. And here it is in all its glory - 'No Bullshit' . With a healthy dose of tongue-in-cheek humour and a seemingly endless supply of fresh ideas, Deo & Z-Man might have pulled one of the most creative albums of the year. Effortlessly gliding between wigged out house for the dancefloor, synthy space weirdness, hip-hop infused beats and twisted, smoked-out electro pop - 'No Bull-shit' is a rare thing, a collection of esoteric and eclectic influences that hang together perfectly as a proper album. The boys have long since created their own special vibe through their well received singles, live performances and DJ sets - mixing musical knowledge, party rocking skills and a sense of fun that is all too often lacking these days. Even more rare is to capture that magic in the studio over the course of an album. Yet 'No Bullshit', as the name cheekily suggests, nails it. Listening to the album it's easy to see how Deo & Z-Man cut their teeth with HipHop - tracks like 'Tamastar Santini' (feat Janos), 'Two Blue Bros' and 'YRUAG' reveal a background of beats and rhymes that infuses the whole vibe of the album. Equally at home in the club, recent single 'XTC', 'Chopped Memories' and 'Tales of Love' are lessons in leftfield club dynamics - deep, musical grooves that hint at the brothers' leg

New label Back To The Balearics follow up the superb Maricopa EP with a stunner from Berlin based live music collective Spleen.
Part one in their musical odyssey 'Fusionary' consists of live jams and instrumentation over computer-based syncopation, their music has a strange yet organic flow to it, which is both hypnotic and rhythmic.
Think Kraut influenced, psychedelic dub funk with a touch of alt pop and you'll be on the right road, but still miles away.
Music is better than words...Spleen prove that.
LTD edition vinyl with beautiful printed sleeves.

"Between Stars" is the debut album from Barcelona based Venezuelan producer and DJ Maurice Aymard. More than two years in the making, 'Between Stars' has been a labour of love for Aymard as he travelled the globe to collaborate with musicians and singers in Barcelona, Berlin, London and Venezuela who could help to bring his vision to life. Released on Aymard's own Galaktika Records (Garnica, James Teej & more), 'Between Stars' was recorded entirely live and features contributions from the likes of Brazilian star Gui Boratto, Columbian singers Andrea and Paulo Olarte, Argentian guitarist Mariano Godoy and many more, the resulting album takes the house music template and expands it to a grandiose level. In an age when anything that isn't packed full of buzzsaw bass and 'sick' drops gets labelled as Deep House, "Between Stars" is the real deal, and from the first bars of the albums opening (and title) track, 'Between Stars' quickly establishes itself as something truly special, a 'house' album that not only works as a coherent whole but sounds as good at home, by the poolside or in a club at 4am. If 'live' house albums have in the past had a tendency to verge on the polite, Aymard's skill as a producer and experience as a DJ keeps things rooted in club culture and nearly every track off 'Between Stars' deserves to find its way into DJ sets over the coming months. Rather than smooth things out the live instrumentation instead adds an energy to the tracks and the subtle touches, that the likes of guitarist David Rondon brings to 'El Final', lift the album up to another level altogether. Since moving from Venezuela to Spain and launching Galaktika Records, Aymard has become an integral part of the European house music scene. With releases on the likes of Berlin's Moodmusic, Hamburg's Einmusika and Denmark's Tic Tac Toe Records, and remix credits for artists such as Mario Basanov, Compuphonic and Combo, Aymard has built a reputation for delivering quality underground house music and with his debut album Aymard looks set to secure his position as one of the scene's most innovative artists.

After a string of releases on Drumcode Records, Pets Recordings and Hypercolour, Tom Demac has joined forces with Will Samson in a somewhat unlikely pairing for their debut release via AUS. Following on from AUS's celebratory 50th release from Deetron, a surprise re-release of Sei A and another solid EP from Dusky, this release takes the label along a more expansive and less dance floor orientated route. In 2012 Tom Demac established himself as one of the UK's most exciting producers after widespread acclaim for 'Critical Distance Part 2'. He followed up this success in New Release Information 2013 with collaborations and remixes with Glimpse such as 'L-Plates'. On the other hand Will had been touring indie venues with Kurt Vile, Marissa Nadler, Shearwater, Ólafur Arnalds off the back of his newly released LP, 'Balance' - an album of hazy, ambient & intimate tape recordings At the end of 2012 Tom stumbled across Will's album, although on opposite sides of the musical spectrum, the two shared a similar ethos towards their work - passionately creating, but never taking themselves too seriously. Having both experienced the recent and sudden loss of close family members just a few short months apart from each other, it was clear that there were both in need of a cathartic outlet. 'It Grows Again' and 'Chasing Shadows' reflects these experiences with a striking blend of wistful vocals and ambient guitar swells from Will Samson and Tom's distinctive grumbling and weighty bass lines. The final track on the EP is Tom's formula remix which seeks a more 4 to the floor approach, led by punchy beats and groove rather than intricate vocals. Tom Demac will be complementing the build up to the release by playing gigs and live shows across the Netherlands, Germany, Ibiza and the UK.

After his release on Sunday Music the german Deephouse talent comes up with a new release on Mule Musiq.
his real debut 12" on henrik schwarz's sunday music was highly acclaimed. he is a member of henrik schwarz band.
henrik suggested me to ask him make the record then johannes delivered me this killer vocal tune.
it was secret weapon on mule summer tour, when this track is dropped, people went to crazy even nobody know this track....
original version is definetly peak time tune and dub version is cool dj tool.
there are live version for digital customer.
enjoy!!

'Moonshine Heater' is the debut release from Marlowe, a new studio and live project from Laurent Bovey (AKA Laps). The title track is a crisp and melodious piece, the mechanical groove bubbling with dubby FX and heavy synth shots against the hypnotizing melody. On the flip, 'My Minds Mine' comes in a darker shade, paranoid synth sweeps and a brassy analogue riff weaves around a minimal yet funky drum arrangement. Another great groove from Marlowe, and capturing that classic early Cadenza sound perfectly. Wrapping up the release is 'Power Plant', another detailed and precise mood piece, deep and unique, taking it's time to build and take effect. Marlowe does not deal with 'bomb tracks', these are sophisticated tracks for the more discerning music fan. Marlowe AKA Laurent Bovey has amassed an impressive catalogue of work since the mid-2000s, solo and as part of Digitaline. Releases on Cadenza, Smallville and Cityfox have set the standards for minimal electronic music.

The Auf Togo combination of Clement Cachot-Coulom from
the Fabulous Penetrators and Sasa Crnobrnja, one half of In
Flagranti are back with a follow up 12' for Leng.
Once again they blend the warm analogue sounds with a
dancefoor approach this time bringing in some vocals on 'Old
Models' that sit over a tight live drum beat and lush guitar work
locking us into a killer summer groove.
'Waiting For Beggi' gets a Balearic workout with more hazy
guitars, percussion and a rolling bassline.

NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. The CD

NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD

NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD

Experimental music from Anna Bolenna, Idroschalo Music leader. Electro live sets with an A side of dub House and a B side for experimental hard techno delirium... Creation no recreation ! ENJOY ! LIMITED TO 100 copies I think.

Swapping oscillators for guitar strings and synth filters for dusty amps this side project continues exploration of blues music through electronics. Originally started as an experiment in programming styles with a release on Bluecid a few years back, these songs continue the droning tones and a variety of tempos that fill the six tracks. All songs were played live on machines while being captured at the crossroads of crossed wires.

No guitars were harmed, held or harnessed in the creation of this electronic project following up the Bluecid 001 release a few years back.

Black White Marbled Vinyl

Following a hiatus of nearly two years, the latest Furanum offering signals the return of solo work from label owner Dominik Muller and coincides with a pivotal tenth release on the label. The Embodiment of Brute Propulsion most notably features for the first time on vinyl robust reconstructions of two the artist's most seminal compositions. Both previously released on UK's Locked Records, 'Eintrachthutte' (2007) and 'Silesian Boy' (2009) have served as stepping stones for the artist's evolving musical vision and represent a raw reflection of the influential period spent immersed in his industrial homeland of Upper Silesia. Audibly modernized and now endowed with a substantially augmented lower end, the two capably maintain the feel and imagery of the originals; the former the impressions of a visit to an iconic location bearing the same name, and the latter a personal exploration of identity in the context of youth.
Also given the wax treatment for the first time is 'Blank,' a previously unreleased piece that has been a mainstay of Dominik's live performances in various forms since 2011. Defined by a recurring and ineluctable pattern, both intrusive yet irresistible, its orphic narrative is subtly driven forward by a series of menacing drones weave their way around a dense and forceful rhythmical panorama. Lastly, the repertoire is complemented by a vinyl-exclusive personal capture of an industrial press shop in operation. Seemingly bare, inanimate, and inexorably bound to its predeterminate cycle of motion, the mechanized landscape stands as a symbolic archetype of the aesthetic ambitions of the label.
Mastered at Berlin's D&M by CGB, Fu010 will be available on 12" as well as in digital format at all fine music retailers.
Words: PSD

LP pressed on 180gm vinyl; sleeve printed in three Pantone colours; includes free MP3 download. Featuring all-new material and recorded in the band's isolated studio on the edge of the Essex marshes, the album ebbs and flows in mood like the nearby Blackwater estuary. Working with a palette of vintage drum machines, analogue synths, textural samples, acoustic recordings, electric bass & heavily treated guitar, the songs were born out of captured live studio performances. Cooper & Hammond then rewired their initial sketches through a series of hands-on, lo-fi effects chains, blurring the edges between acoustic & electronic elements. The result is an organic, playful feel; leaving the music room to breathe and carrying distinct echoes of the band's previous work. BIOGRAPHY Ultramarine are the London/Essex-based duo of Ian Cooper & Paul Hammond. Formed in 1989, the band's early records were released by the seminal Belgian label Les Disques du Crépuscule. Ultramarine released five albums during the 1990s including the highly-acclaimed ambient techno/house classic Every Man And Woman Is A Star (Rough Trade, 1992); United Kingdoms (Blanco Y Negro, 1993), featuring writing collaborations with Robert Wyatt; and Bel Air (Blanco Y Negro, 1995). After a prolific decade, including full American and European tours with Björk and Orbital, Ultramarine went on a long sabbatical following the release of their fifth album A User's Guide (New Electronica, 1998). After a 13-year absence they resurfaced with two new singles in late 2011 on Real Soon and WNCL Recordings, fully rested and ready for action.

God is an Astronaut's seventh full-length album, Origins, is their first as a five-piece and cements their place as one of the world's most intense, musically- and visually-inventive post rock bands. Renowned for their searing live shows in which the music is married with provocative projected imagery, GIAA consider each of their albums to be a sonic 'photograph or snapshot of who we are in that moment of time' and Origins is perhaps their most saturated, striking snapshot to date.

*Origins is notable also in GIAA's return to Rocket Girl records, who licensed the band's breakthrough album, All is Violent, All is Bright in 2005. In the eight years since then, GIAA have continued to release albums and an EP on their own Revive Records (A Moment of Stillness EP, 2006, Far From Refuge, 2007, God is an Astronaut, 2008 and Age of the Fifth Sun, 2010), amassing a vast following on social media sites (150,000 fans on Facebook, half a million listeners on ) and touring extensively, establishing themselves as Ireland's most intense, incandescent live act.

*Comprising a dozen tracks, Origins fluctuates from controlled ferment ('Calistoga') to plaintive, piano-led reverie ('Autumn Song') to rhapsodic, unapologetically melodic fever ('Signal Rays') while never losing its focus.
Experimenting with 'a multitude of stompboxes', the newly bolstered line-up gives the songs an added richness, apparent on Origins perhaps most obviously on the first single, 'Spiral Code' which has already received numerous radio plays on specialist radio.

Second part of this two episode series on Subnet records. Following the same flavour as before... dark textures and mental synth lines driven together by hard drum patterns and groovy percussion. These two ep reflect the creepy and insane behaviour caused by experiments in the field of invisibility applied in the human being. All the tracks were recorded live! Just using analog sequencers, mpc, analog mixer and synths... Directly to a recording device. In the same way as you could record a live set, to keep all the vibe as fresh as possible. 220 copies limited vinyl release.

It's only early July, but 2013 has already proven to be a landmark year for production/DJ duo Deep'a & Biri. With a couple of their tracks being released on Transmat Records and appearing on Derrick May's mix compilations on the one hand, while on the other, getting signed to DJ Hell's International DJ Gigolo Records, where they released a single in April and have a full album forthcoming mid-September - it seems that all corners of the techno diaspora are ready to catch up on their sound. But it doesn't stop there, as they now launch their own Tel-Aviv based label, Black Crow. With a successful series of parties operating under the same name, bringing to Tel-Aviv a tasteful selection of the world's top class techno DJ's and live acts, Black Crow, the label, is set to counter-match this high standard with its musical output. Inaugurating the label is the imminent release of 'Redshift", produced in collaboration with their long-time partner and excellent producer on his own right, Gene. 'Redshift' has the signature Deep'a & Biri sound, a pumping Detroit-indebted roller, with shout snippets riding in & out the keys-led workout. Keeping it in the Mediterranean, Greek producer Argy provides the remix, accenting the baseline and adding a spoken vocal that takes 'Redshift' all the way to Chicago. Rounding off the package is 'Blueshift", which demonstrates the team's melodic tendencies, with its more spatial arrangement perfect for those deep space moments.

*This is the second solo album from Ken Camden who lives and works in Chicago. He also plays in the Implodes sound quartet. *Space travel is the dream of many and the reality of few. Since Yuri Gagarin rst shed the bonds of earth gravity in 1961, only about 500 humans have made the trip beyond the atmosphere. *Ken Camden travels to space while still grounded on terra rma. His vessel of choice is a guitar and some effects with which he journeys on fantastical expeditions and surveys the biggest territory of all, the one between your ears. *The glimmering sound elds he forms could be a soundtrack to an epic 60's science-ction lm, or a long forgotten grade school educational lm strip explaining how humans would be living on Mars early in the 21st century. *Camden's narrative rejects the dominant dystopian view of the future and posits that there are great voyages yet to be made in inner and outer space. *The album forms a gravity-free environment in which the listener is suspended, enhancing an aural excursion to the outer reaches of the musical Kosmos. *Press quotes for Lethargy & Repercussions: 'Transcendence achieved.' Tiny Mix Tapes 'It's an album that, although it's only been recorded once, feels forever embedded in the present tense when you listen to it.' Attn Magazine 'Ken Camden fuses the mystery of Eastern scales with Krautrock and Karl Stockhausen inspired themes, yet his sound remains futuristic.' Bearded 'Awesome record of shimmering, electronically modied solo guitar music. The pulsing, gated rhythms do have a certain (k) / (c) luster that reminds me of Achim Reichel and / or Steve Hillage, but the sound- palette is decidedly contemporary, with endless synchronized delays & comb lterings making the proceeding just so rich & dense.' Keith Fullerton Whitman *Track listing:

Moire Patterns sends his most essential of hellos to the world with his new release on Knuggles Recordings, featuring two delicious tracks on 12(vinyl only).
A: Warning Parrots
It's a Warning! Warning! Warning!
Moire Patterns with Nic 2Birilli welcome the summer with a Live Recorded Jam, inspired by their Mediterranean origins.
A balearic journey unto its own.
AA: Lofty Principle
Are you ready to elevate your principles Do you have the strength to carry on
Nikolaos' love of the raw & analog ways has created a piece of work with 808 garage elements that set off waves and twirl you into ecstasy.
Mixmasters will love this one.

'Believe" delivers a consummate body of work with which Nicole's considerable abilities in the studio are clear for all to hear. A wide-range of sounds that is sure to appeal to the idiosyncratic tastes of the various sub-sections of electronic music community. Furthermore, it lives up to the high-standards of previous Drumcode long-players and is an engrossing and impressive debut; and one that offers a smooth segue into the next chapter of an already exciting career.

Kicking off with the industrial techno grooves of 'Come And Lay' with the bass-heavy 'Do Your Thing' on the flipside.

Six years have passed since the last album by Andi Otto alias Springintgut, ("Park and Ride", City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His "Fello" is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, "Where We Need No Map" Otto takes the "Fello" to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like "Ka- mogawa Cycling" and "Western Kyoto". In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in "Bullet" one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of "Where We Need No Map" points us to unknown territories. The journey itself is the reward, let's listen!

Sechs Jahre sind seit dem letzten Album "Park and Ride" (City Centre Offices, 2007) von Andi Otto alias Springintgut bereits vergangen. Diese Zeit hat der Pingipung-Mitinhaber genutzt, nicht weni- ger als ein eigenes Instrument zu erfinden: das "Fello", ein Cello mit Bewegungssensoren auf dem Bogen und einer dazu gehörigen Soft- ware. Die Grundlagen dafür entstehen bereits 2007 am STEIM in Amsterdam. In der Folgezeit gelingt es Otto, das Instrument immer weiter zu verfeinern, mit unterschiedlichen Künstlern zu kooperieren und international aufzutreten. Für "Where We Need No Map" trägt Otto das Fello erstmals ins Hamburger Studio und nimmt unzählige Sessions auf, in denen die Gesten des Bogens direkt den verstärkten Sound des Cellos verändern und neu formen. Diese Fello-Sitzungen werden anschließend editiert und mit anderen Ein- flüssen vermengt, die von Skweee über House bis hin zum Jazz reichen. Der Markenzeichen-Sound von Springintgut, diese ureigene Verspieltheit, ist weiterhin vorhanden, gewinnt durch das live-pro- zessierte Cello aber eine bisher unerreichte Tiefe. Weitere Farbe erhält das Album durch Ottos zahl- reiche Tourneen in ferne Länder. Zwei Stücke ent- stehen in Indien. Die Stimme von "Bangalore Kids" ist eine Feldaufnahme eines Schuljungen im Cubbon Park in Bangalore. In Japan verbringt Andi Otto drei Monate als "Artist in Residence" in der Villa Kamogawa in Kyoto. Während dieser kon- zentrierten Zeit entstehen die ruhigeren Tracks des Albums wie "Kamogawa Cycling" und "Western Kyoto". In Sri Lanka lernt er dann Sasha Perera kennen, die Stimme von Jahcoozi. Sie nehmen zwei Songs zusammen auf. Vor allem in "Bullet" kann man der faulen Nachmittagshitze nachspü- ren, in der die Stücke entstanden sind. So lassen sich die vielfältigen Entstehungspunk- te von "Where We Need No Map" zwar karto- graphieren, aber der Sound des Albums schickt einen trotzdem in unbekanntes Terrain. "Der Weg ist das Ziel, frag nicht viel, hör mal..."

Die beiden Jungs von Audision melden sich wieder zurück und ihr nächstes Release kann sich durchaus sehen (farbiges Vinyl) und hören lassen. "Chimes 1" wurde für ihr Live-Set produziert und hat somit bereits Reaktionen direkt von den Dancefloors einfangen können. Kristallklar klingen die Bells des neu im Studio integrierten Roland JD 800 und schwingen magisch im Raum. In der Vorbereitung für ihr Live-Set im letzten Jahr in Frankfurt waren noch nicht alle Maschinen auf Ursprungszustand gestellt und plötzlich meldete sich der JD 800 mit einem neuen Sound auf einer alten Soundbank. Die Maschine einfach sprechen lassen, ist ihr Motto von Beginn an und so wurde sofort die Record Taste gedrückt und es entstand "Chimes 2".

"Away" war der beatlose Track der letzten Erfolgs Single "Up & Away" (2012). Kein geringerer als Gez Varley aka G-Man machte daraus ein Tech-House Dancefloor Monster vom Herrn. Als Mitbegründer der legendären Kombo LFO (Warp Records) schrieb er zusammen mit Mark Bell Musikgeschichte. Als G-Man glänzte er als Solokünstler auf Labels wie Wir, i220, Force Inc. und nicht zuletzt Swim, auf dem er mit "Quo Vadis" die Clubs in den 90ern weltweit aufmischte.

Nicht weit entfernt saß im letzten Jahr noch Christiopher Rau. Der Tausendsassa ist in der Zwischenzeit von Hamburg nach Berlin gezogen, konnte aber vorher noch einen Remix beisteuern. Der Typisch, rohe aber immer deepe und warme House Sound aus den Kreisen der Smallville Familie, rundet die 12inch perfekt ab. Wir meinen ein Must-Have!

If the "Parquet" album saw them delivering a unified vision of dancefloor purity to massive acclaim, "Cashmere" now takes ELEKTRO GUZZI's signature man-machine sound up a notch. It is moving their rock-solid base towards ecstatic moments of techno bliss. In the title track layers of circling angular chords cause goose bumps, while a warmly pulsating foundation of bass and drums locks in
the groove. The "Reverse Mix" does exactly what it says: reversing the arrangement and re-building the track back to front. In "Crack Fox" it is then the interaction of shifted bass line and countering melodic scraps that pushes the whole thing forward. All set off against ultra-steady drumworks, only swelling in lengthy waves towards eerie peaks, the result is sheer madness. Essential material from
the band that reinvented "live techno."

Elon make with the DIY vibes on the smart EP. Fans of Live Jam releases, listen up! On the title track sharp cuts, tight bursts of sound and loose percussion combine into a complex rhythm that is kept in check by a nice tumbling bassline. Jazz breaks hit the speakers with Got Ya, Tiger! Like a night out in Soho in 1962 brought back to life on an MPC. The bruising bassline just shouts 'Dance Or I'll Kick You In The Guts". Alex Celler's Broken Circuit Dub of Got Ya, Tiger! ramps up that kicking a notch. All those bruising elements are still there, but the guy grinds those jazz breaks up in his big metal jaws and spits out a gobful of twisted future. And you're gonna like it! Elon team up with Stefny on Téo, which finishes the EP. And you can feel her effect - she clearly loves a cheeky little synth line, because there are plenty of them here... squalking, meeping and dooping in perfect harmony to create a nice trancey brainfeeder. Nice.

Historia y Violencia proudly presents Raiz's "Curandero" EP.
Coming from the notorious L.A. promoters/multi-media group Droid Behavior, Vangelis and Vidal Vargas are no strangers to Techno. These brothers have been shaping and molding L.A. dance floors since the early 2000's. Formerly known as Acid Circus, they started to record as Raíz in 2010 for their first release on Historia y Violencia.
Here, the brothers dive deep into the realm of music and structure, with two moving tracks that defy their live performances. Curandero builds up through out the track with every bit of 909 drum and just enough fx's to keep you focused on your 1-2 step. With Sabio, Raíz dives deep using the classic Convextion formula to hypnotize the audience in their style. Both tracks tell a story of what Raiz is about and what part they hold in L.A. Techno History.

Terror Danjah's second Hyperdub album is 'The Dark Crawler', a well-paced and much more upfront and energetic journey through his musical world than his debut 'Undeniable'. The album revolves around the 'Dark Crawler' theme, a blistering grime track that pops up several times, vocaled by MC's Riko Dan, Mayhem, Deadly and Saf One, and then lastly Trim and Kossie. That's not to say the album is one dimensional or relentless. It's subtley balanced with the 'Dark Crawler' thread of tracks allowing the album to spin off in a web of directions without losing any focus. It's a much more contained body of work, paced to keep the listeners interest. From the 'Dark Crawler' intro into the cartoonish horror soundtrack of 'Mirror's Edge', which tricks you into thinking its just any dubstep tune, before scattering into Terror's signature broken kicks and claps. 'Dark Gremlinz' featuring D.O.K. is a classic peak-era asymmetric grime instrumental. The album then drops down into the 130ish speed of 'Air Max 90' featuring Champion, which builds from a soca-like drum drill stretching the rhythm to the point of collapse with a wonky synth, before concluding on a driving baseline house 4/4. The first 'Dark Crawler' vocal is next, with a ferocious performance from veteran Roll Deep MC Riko Dan, who drops bloodthirsty threats at a breakneck pace. Next, the tempo drops down again to the drunk funk of 'Full Hundred', with criss cross claps and a rasping bassline breaking down into live drumming and tight trap door edits. Things speed up a little again with the intricate 8 bar funky of 'Rum Punch', a hard drum tattoo rolling out over a heavy detuned bassline and intense bleeps. On the second 'Dark Crawler', mic duties are shared by Birmingham MC's Mayhem , Deadly and Saf One. Their hard vocals contrast with lush styled R'n'B of 'You Make Me Feel' featuring Meleka. The album then rolls out into the galloping drums and smooth G-Funk synths of 'Baby Oil'. Trim and Kossie drop the final 'Dark Crawler' vocal, with Trim dropping deadpan threats contesting with Kossie's focussed hysteria. Next up 'Delicately', with Ruby Lee Rider, starts in slow motion R'n'B mood, sweet Rhodes chords drift and bubble up as the track doubles up into dreamy drum and bass with a fluttering tabla keeping the time, and Ruby's tender vocals tempering the pace and aggression. Overall, it's a brilliant exercise in breathless rhythmic arousal. 'Moschino', on the other hand is a darker, chunkier and grimier mirror image to 'Delicately', switching up into a ferocious metallic riffage, before the album closes on an outro of 'Dark Crawler' again. Form, function, energy and talent fuse perfectly over 'The Dark Crawler' s length. Enjoy the ride.

"In Dub Vol.1" ist die erste Collection einer Serie mit raren, klassischen und neuen Dub Exkursionen des Bob Marley & The Wailers Kataloges. Sie beinhaltet 10 Dub Remixe und die neu angefertigte Dub Version von "Lively Up Yourself" als
"Lively Up Your Dub".

* 180 gram audiophile vinyl
* Gatefold sleeve

One of the most eagerly anticipated albums of 1968 by press and public, Cheap Thrills met every expectation and then some.

With the heartrending version of "Piece Of My Heart" and a definitive cover of Gershwin's "Summertime", the album (which consists of studio and live material) shot to the top of the charts and stayed there. The audio has been sourced from the original masters, and Robert Crumb's artwork (also known for creating Fritz the Cat and the iconic Keep On Truckin' comics) is meticulously recreated on this Music On Vinyl issue.

A truly classic album and an important part of Rock history, this album is 'a time capsule for one of rock's most distinguished singers.'

14 tracks: Maniac Lover, All I Can Do Is Cry, Chick Habit, Johnny Are You Gay, Raw Deal, I'm Gonna Dry My Eyes, Clarksdale Boogie, Nothin' But You, Moonshine Song, Walk Italian, Live The Life, The Long Way Down, Brown Eyed Boy, Poupée De Cire, Poupée De Son.

Hudson Mohawke steps things up a gear with this hyped and ridiculously anticipated collaboration with fellow beats alchemist, Lunice - both representing their respective corners, Warp and LuckyMe. Their live shows and snippets of their tracks that have been found online have fuelled the excitement around this release

While his debut album 'By Your Side"'s release was announced for September the 17th, Breakbot introduces the fruity 'One Out Of Two' featuring the faithful vocal performer, Irfane, embellished with remixes from DJ Sneak, Oliver and Get A Room!. The french TV show, Le Grand Journal, selected this track as the sound signature for the Cannes Festival. The vinyl includes also 'Program", a tiny biscuit sound, unveiled online on the occasion of his first live performance at the Coachella Festival. Breakbot's shiny funky pop will rock 2012's summer, waiting for the album and next live shows in festivals (Calvi, Dour, Les Vieilles Charues, We Love Green...).

The new Wheel and Deal production partnership between N-Type and Surge, releasing their 1st EP: September Sun.A: September Sun ft Pyxis - After the success of Surges first single with Pyxis (Leech), she once again delivers her signature vocal style, this time laid down on the fresh and original collaboration between Wheel and Deal label head N-Type and rising star Surge. The combination of production styles has built a fresh take on the dubstep sound. This featured in N-Types mini mix for Mistajams Radio 1 show earlier this year, with continuous radio support from Hatcha at Kiss 100, Mistajam, Walsh (Biscuit Factory Records) and N-Types Rinse FM show, every Tuesday 9-11pm. B: Mega-Tron - Featuring live guitar from Jonny Boltano, showcasing a different side to the duos production skills. Rolling rock style drums and build ups drop into a continuously transforming bassline. As the the track develops, the influx of the orchestra ends the track dramatically. Being battered by Hatcha at Kiss 100, Soap Dodgers, Laxx, Walsh, N-Type & Surge. This also featured in N-Types mini mix for Mistajams Radio 1 show earlier this year.C: Triangles - Old school Jungle/DnB, dub and techno influences rain through in this track. Dark & atmospheric, this could easily be a soundtrack of horror film proportions. The Bass is thick and punchy with the eerie sample 'Dark Triangles!' slicing through the darkness. Support from Mistajam, Hatcha, Soap Dodgers, Walsh, N-Type & Surge. D: Zombie Apocalypse - This one is more on the jump up side, proving the diversity in N-Type & Surge's production style. As the zombies approach, tension builds to the drop with the dramatic sample 'This is the End'. The bass is weighty and growling, like a blood thirsty monster. The second drop steps up the pace with a staggered, automated bass rinse out.

Special tracks have a special story behind them. And this one certainly does. After Mario & Vidis recorded a couple of tracks with Ernesto for their debut album Changed they invited him to perform in their home country. During his short stay in Lithuania Ernesto performed two times and both times closed his set with a track called Care. It was kind of a mash-up - Swedish singer & songwriter was using lyrics of his old song to sing over Metro Area's classic Caught Up to a big effect - leaving the packed dance floors to a sing along to lyrical hook of 'sisters and brothers, smokers and lovers, care for me' every time. Big fan of Metro Area's sound Vidis offered him to do a reversion of this mash-up using Caught Up as a reference and inspiration. The vocals were re-recorded, new arrangement was done, and the song was tested in the clubs as well as live on stage. So here it is - another big tune from the three to sing and dance along