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"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

This new series on Expansion explores classic and exceptional 70s and 80s 'modern soul room' tracks making them available on 7' single for the very first time.

The Moments were a prolific sweet soul group in the 70s, signed up by Stang Records and regularly in the charts. They comprised vocalists who would later become Ray, Goodman & Brown. As The Moments their first US R&B No.1 was Love On A Two-Way Street' in 1970 and in the UK were best known for Nine Times', Dolly My Love' and Girls'. When they changed labels, a handful of songs were left unissued including the incredible Sleep Won't Come', first released as a CD bonus tracks on a 2CD Moments anthology Moments To Remember'. Interest in the songs has become high since that time resulting in an inevitable debut release on vinyl here on Expansion.

The B side is one of the group's most underrated gems.

Now here's something special. A straight up, bona fide summer smash. A massive dancefloor-smashing beast of a tune. Daniel Dexter continues his long and fruitful relationship with Poker Flat by channelling the sound of classic Clivillés & Cole in 'Deeper Love', an early 90s house bomb that will send shivers down your spine. Underpinned by a resounding synth riff and dancing counter-motif, Kaori Kaneko's vocals provide the perfect foil, packing a powerful and soulful punch. Prolific Parisian Alexkid provides a radical reinterpretation: stripped down, muted and glitchy, with the vocal cut up into fragmented shards that flutter and fibrillate in an ear-tingling fashion. While on the flip, Berlin's Bay Area import Kevin Knapp intones the names of classic Hollywood starlets over the smooth groove of 'Heroine'. The fulcrum of the track - a fat and rubbery analogue bass - comes to the fore on an instrumental mix, perfect for long blends and deeper palettes.

Originally released as a strictly limited 10-inch vinyl record exclusive on Record Store Day 2012, this long sold-out must-have for fans of these two artists will finally be re-issued - this time in 12-inch format!
Erased Tapes label mates Ólafur Arnalds and Nils Frahm recorded and mixed their first collaborative record between Reyjkjavík and Berlin as a surprise release for label founder Robert Raths.
The ambient/electronic work 'Stare' is a true family effort with long-time collaborator Anne Müller joining in on cello and all graphics created by close label-friend and designer Torsten Posselt of FELD Studios.

Words by Nils Frahm: 'I heard 'Eulogy For Evolution' for the first time six years ago and I was totally captivated. Impossible to know back then that I was supposed to meet Ólafur many years later as my label mate. Later when he took me along a tour of his we also noted that we kind of like hanging out together, doing important things like cover versions of long forgotten songs or eating veggie pizza. Also he would join my live set for a jam and I would return the favour by playing along with his set.

All in all, I fell for Óli and after one memorable jam session we had in Berlin at Roter Salon in 2011, he finally proposed the idea to visit me in my studio in Berlin to work on 'some music'. I was happy and delighted about that idea, so we got together in April 2011 and after having a big pizza, I plugged in some old analogue synths and we played for four days until late in the night. Also queen Anne Müller stopped by after a show with Agnes Obel to record some cello at 5 am in the morning for 'b1'. Making music together with people is lovely!

The time I spent with Óli in Berlin made me very happy and the music wasn't like anything I have heard before. It was all very reduced and minimal and I felt like I couldn't have done this alone. So we decided to do another 4-day jam at Óli´s E7 studio in Reykjavik. So I flew there in the end of October 2011 to repeat the trick and record some out of this world ambient music. It didn't take us too long to write 'a1' and 'a2'. I can't wait for the follow up!'

Bristol based imprint Timedance launched in February this year, with the 'Cardinal' 12" by label head Batu (Hotline, Dnuos Ytivil).
Following on from this the label travels further into dark, off-kilter UK techno territories with a debut 12" by L.SAE.

L.SAE is a new project by Joe Higgins, also known as Metrist (Resin, Fifth Wall), exploring experimental techno-tempo music. He creates a distinctively raw, atmospheric sound palette, referencing material from early Drum & Bass, noise-techno and 90s IDM.
Both tracks are tough as nails, containing thunderous distorted kick drums and clattering percussion, but also delicate, mournful synth work.

South London producer Paul White and Florida vocalist/rapper Eric Biddines have joined forces to form new duo Golden Rules. Their debut album of soulful, psychedelic hiphop features Yasiin Bey (fka Mos Def) and its sound recalls Outkast and Cee-Lo.
Golden Rules have already seen radio support from BBC Radio 1's Huw Stephens, plus 6 Music's Gilles Peterson, Tom Ravenscroft, and Mary Anne Hobbs, while key online hip-hop sites such as The Source and 2 Dope Boyz have been quick to recommend the group. Paul White has been described by the Independent as a 21st Century DJ Shadow', counts Madlib and Diplo among his fans and is best known for his production for the likes of Danny Brown and Charli XCX. Newcomer Eric Biddines has built a career in Florida and his last video received heavy rotation on MTV Jams, but this is his first step on the international stage.

Der Aphex Twin will es wieder wissen. Nach seinem sensationellen Comebackalbum "Syro" in 2014 (inkl. Grammy-Nominierung!) und der "Computer Controlled" EP Anfang 2015, knüpft der Soundtüftler nun an seine Acid-Zeiten aus der Mitte der 00'er Jahre an, als er als AFX mit der "Analord"-Serie auf seinem eigenen Rephlex-Label den Dancefloor unterminierte. Die Zusammenstellung "Orphaned Deejay Selek" enthält komplett unveröffentlichtes Material aus den Jahren 2006-2008, auf dem das Genie seine Liebe zu weirden Acid-Grooves auslebt.

- CD in Innen- und Außenhülle (ähnlich LP-Cover in CD-Größe, gestanzt)
- schwarzes Vinyl in Innen- und Außenhülle (gestanzt) inkl. Download Card

Up and coming Belgium-born activist Philippe Petit, operator of the Knotweed and Decision Making Theory labels, returns to Figure SPC with a delightfully versatile four tracker. Spanning cold-wavesynth electronics, purist club techno and up-building melodic zones, its perhaps Petits strongest effort yet. Capturing a neo-classical, archaic mood in >Mist Solaris Negative Zone Suspended< closes the EP with a joyful, above the clouds journey, lifting up weightlessly into the ether.

Following up his debut album 'Emergence', Prague based producer, beatmaker and all round good guy Hybris is back on Noisia's Invisible imprint.

A perfect foil of Hybris' trademark quirkiness vs dancefloor this delivers on every level.

Leave is the third album from Rasmus Rasmussens ethereal electronic project Aerosol. During the nearly six years that has passed since it's predecessor Airborne, Rasmussen has spent his musical efforts in acid rock outfit Causa Sui and as part of various constellations, playing alongside musicians from Sunburned Hand of the Man and legendary kraut bands Can and Faust.

These freeform psychedelic influences seep into the already recognizable style of hazy electronics, known from his own previous work as well as from the music of
his colleagues in former band Limp (Manual/Syntaks).

Cosmic sounds and psy- chedelic effects mingle with cascading guitars and kraut-infused beats on a collection of tracks that sends obvious nods to the german
synth pioneers of the seventies, but is still unmistakably an Aerosol-album - an album set on beating emotions, moods and melodies out of old synthesizers, cheap drum machines and Rasmus' trusty white Stratocaster.

There used to be a time when ring tones were important. You were easily recognizable as one of the few people actually owning one of these new gadgets called ›mobile phone‹ (or ›handy‹ as the Germans say). Later you could make an important distinction by choosing a ›cool‹ ring tone...

In May 2014 the Festival »Doofe Musik« (»Stupid Music - Songs for Dreaming, Sedation and Forgetting«) took place at Haus der Kulturen der Welt (HKW) in Berlin. As part of the »Anthropocene Project« the festival focussed on escapism and the special function of music when retreating from reality. Detlef Diederichsen, curator at HKW, and Holger Schulze, Head of Sound-Studies-Lab Berlin, decided to not only focus on music which music lovers usually hate, e.g. ›Schlager‹, German folk music, Light Jazz, but also on ring tones.

The audio logo of Deutsche Telekom has been part of Germany's mobile phone culture from the very beginning so it acted as a starting point to question the usual concepts for ring tones. Using Christian Kellersmann's idea of the »Pocket Symphony« ten artists were invited to come up with adaptations of Telekom's audio logo. The results were performed for the first time during »Stupid Music« and once again in October of the same year when most of the recordings you can find on the album were made.

As you will hear: The short motif, as simple and unforgettable as it is, is ideal musical material.Everyone knows it, everyone has some sort of connection to it and these ten different versions, these ten different positions, open up the most varied possibilities for associations.

It is time that we take the ring tone seriously again. As the most reduced musical form that is the most-widely available in the whole world it contains enormous and unrealised potential!

With Dan Curtin on the 4th release, Melodymathics has undoubtedly one of the key players in the development of electronic music as we know it today. With 'deserted station' Dan Curtin is as innovative and vital as he has ever been.
This funky production, with the typical Dan Curtin edge, covers the sound of the past, the present and the future.

'I want you' the result of a collaboration between 3 Belgian talents, discovered by Melodymathics. Amtek&E-Freak ft. Mike Ekim are bringing the contemporary club sound, though remaining funky and soulful, with catchy vocals. A real dancefloor killer!

Melodymathics holds the tradition alive to indulge the vinyl dj's. This time the funky loops are provided by the mysterious Melodymann and Sjef Wanders.

Hailing from Tel Aviv, Israel, the DJ/producer trio PARTOK MATUSHKA APFELBERG is a well-known entity in its hometown, with the involved artists holding residencies in one of the most acclaimed clubs these days: Tel Aviv's The Block has been named "one of the five best sound systems" in the world on England's BBC Radio 1, perfect proving grounds for the slick, propulsive techno to be found on our latest 12" offering. Title track NAI NAI bum-rushes the stage with prowess, inflicting its bass-heavy demeanor with some funky voice cut-up work that will conciliate the hardcore floor heads with the more casual headbangers. The flipside shines with STATION, a relaxed, somewhat introspective belter giving its epic synth pads enough room to breathe without sabotaging its percussive agency. All in all, this is an impressive calling card putting these fresh talents on the road to worldwide floor domination.

Aus Tel Aviv, Israel, stammt das DJ/Produzententrio PARTOK MATUSHKA APFELBERG, in der Heimat eine anerkannte Grösse: die beteiligten Künstler stammen samt und sonders aus dem Umfeld von The Block, einem der besten Clubs zur Zeit, wo sie auch als Resident-DJs walten und wirken. Vom englischen BBC Radio 1 als "eines der fünf besten Soundsysteme der Welt" gelobt, entpuppt sich The Block als das ideale Testgelände für den smarten, antreibenden Techno der unser neuestes 12"-Release schmückt. Der bassgeschwängerte Titeltrack NAI NAI stürmt gekonnt die Bühne, auch dank der elegant zersägten Stimmsamples, welche die Hardcore-Flurfüchse mit den Gelegenheitsheadbangern versöhnen wird. Die Rückseite glänzt mit STATION, einem entspannten, tendenziell introspektiven Schieber, der seinen epischen Synthieflächen genug Raum zum Atmen gibt, ohne jedoch die perkussive Schlagkraft zu sabotieren. Alles in allem eine beeindruckende Visitenkarte für diese frischen Talente auf dem Weg zu weltweiter Flurdominanz.

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

Front Left represents a very special corner in a very special spot on this planet. Every week the front left people gather together to celebrate techno music.
Techno is what brings us together and what makes us family to one another. We rejoice listening to it, produce it, talk about it, share it and mainly dance to it.
It is incredible how one physical spot creates so such magic and human connection.
This label brings the productions of the front left people to the world.
In the first release, you will find Elad Magdasi, a heavy dancer and an emotional producer. His productions are wide-ranged and loaded with a true rave spirit, combining an acid-line treatment and his melodic point of view. In the last two years Elad's productions turned to the techno side, and now he feels it's time to finally let his music out. Gathering knowledge and figuring out his style brought him to this point. His love for raving is what keeps his mojo going and brings the inspiration to his life.
Joining the first release is Matrixxman (Charlie Duff), the talented producer who's been shaking dance floor with his hit "Protocol" for already 2 years and now releasing his debut album on Ghostly. Not surprisingly, the connection between Elad and Matrixxman was also formed on the Front Left.
The first release combines a slick collection of sounds.

Tough, to the point, no-nonsense machine music is a longstanding Midwestern tradition.
Drawing a line all the way back to the old guard, The Bunker New York's latest EP is Walk The Distance, courtesy of Mark Verbos, a techno veteran and New Yorker by way of Milwaukee who put together four pieces of heavyweight dancefloor artillery, informed by an intimate, inside-out knowledge of the machinery used in the production of these tracks.

"I've been doing this for a long time. In the beginning, there was only hardware, and it feels better to make music with physical objects. Plus, I make hardware, too," says Verbos, recounting his production processes. Verbos not only produces music, he also produces the hardware he uses to make music—his company, Verbos Electronics, manufactures Eurorack synthesizer modules with a vintage sensibility. When he's making music, Verbos says, "I try to get to know the devices I use well enough that whatever I imagine can come from them. Techno is machine music. When I'm recording, it's just me and the machines."

The music, however, speaks for itself. No punches are pulled here—the record starts in top gear with "Start Up Drive," a devastating techno bomb centered around a throbbing, repeating bassline and a meaty kick drum that builds to a massive climax in the span of five minutes. "In The Back Room" kicks the tempo up a notch, featuring spaced-out atmospheric synth leads floating atop syncopated percussion. "Just A Little Late" is funkier than the other two, built around a rubbery, insistent synthesizer groove that worms its way deep into your head and doesn't let go.

The aforementioned three tracks alone would comprise a solid techno EP suitable for any number of dancefloors. But the last track on the record—its namesake—shifts gears entirely. "Walk The Distance" is a moody, pulsing slow burner, introspective and emotional. It's a haunting listen that adds remarkable depth and complexity to the record. "Walk The Distance, the track, is a reference to the fact that music is not a career. Any advice you could offer someone on how to have a successful career doesn't really apply to a career in music. By that I mean to say, process is everything, and the results don't really matter."

Sage advice indeed, but judging by Walk The Distance, Mark Verbos has figured out how to produce results that matter.

Until December last year music was simply a hobby for Alex Crossan, aka Mura Masa. He may have had 7 million plays and 30,000 followers on Soundcloud but the 18 year old Channel Islander had never played his music live, DJ'd or even been to a gig himself. He had just started an English degree at Sussex University and was happy playing guitar and bass in function bands.
It was an email from Jakarta Records that changed everything. The Cologne-based label (previously home to Kaytranada, Iamnobodi and Sango) felt Mura Masa's mixtape 'Soundtrack To A Death' was too good to sit on Soundcloud and persuaded him to release it with them.
The following 3 months were a whirlwind, with 30 spins on Radio 1, a sold out debut show & a top 5 position on the itunes electronic chart in the UK and US. At one point Mura Masa had 4 tracks in the HypeMachine top 50 and remix requests from Ed Sheeran, Ellie Goulding, RL Grime and iLoveMakonnen in his inbox, whilst still juggling his degree.
So as Mura Masa prepares for his first official EP release the stakes are very different and he has upped his game accordingly. As well as the sampling for which he known, Mura Masa plays live piano, guitar, drums and even sings on Someday Somewhere. He is keen to show that he is a musician and songwriter as well as a beat-maker and has called on new friends Nao, Denai Moore and Jay Prince to feature on tracks.
Paul Epworth (Producer for Bloc Party, Adele, Santogold): 'That 18 year old is taking over the world right now and he's just delivering the most deeply textured music around, we have got such a talent on our hands in the form of Mura Masa and i think the UK has finally got our very own Kaytranada and it's not beyond him to overtake that, so good, ridiculous....

Reissue of a unknown b-side of an early Belgian trance outfit release. Before they made euro trance they made this heavenly balearic gem. It screamed for Lauer remixes and he provided...
Unless you have been sleeping it should be pretty obvious that WPH head honcho Red D has a weak spot for early Belgian trance stuff. Before trance was even known as trance that is... The early 90ies were the post new beat era in Belgium and loads of producers were experimenting with new sounds to steer away from the blatantly commercial new beat chart stuff. So that's when the magic started happening.

One of these producer outfits was The Mackenzie, who on their very first releases covered a territory somewhere between new beat, Chicago house and Balearic sounds. None of these tracks really 'hit', but some 25 years later WPH shows you that true timeless quality always resurfaces. 'No Promises' is simply a divine piece of work from start to finish and should become that underground summer hit played by any DJ worth his or her salt when it comes to putting melody over beats. One listen to this one and it's easy to see why German stronghold Lauer was the go to man for some remix action. Lauer brings you a different take and a classic cover version of the original.

As a little bonus Locked Groove & Red D made an edit of a remix done by The Mackenzie in that same period. I think you will agree that both these tracks were made to be on one E.P. Trust WPH to bring it back in a different way!



[C] b1 | The Right Side (Locked Groove & Red D's Exotische Edit)

It's been a while since Delsin help launch the career of Italian producer Hazylujah, but now the two are back in action with a special 10'' vinyl release. Massimiliano Vianello debuted on this label back in 2011 and has since appeared on Media Fury, and here he comes correct with two more raw and jacking experimental house tracks. Few tracks sound as abrasive and in your face as this, and for that reason they once again prove Hazylujah is in a class of his own.

Propelling Down Under techno and house into the world's clubs with classics such as Phreakin', LSD and 6AM in the mid-90s, djhmc (Cam Bianchetti) is rightly hailed as the 'godfather of Australian techno'.

Now with more than 30 years experience of transcendentally moving dancefloors - and 20 years with his productions, remixes and edits; djhmc is back with a new label - reflector.

This will be an all new platform to showcase totally remastered versions of his back catalogue as well as to provide a vehicle to bring his current and previously unreleased
work to his already loyal following and to new believers.
Cam Bianchetti is a man of many talents who is very much in demand as a DJ and a producer, and he applies the same meticulous attention to detail and knowledge of what works a dancefloor across both disciplines. Under his djhmc alias, it isa very broad church that covers disco, house and techno, whilst his other monikor, Late Nite Tuff Guy focuses more on his love of Funk & Soul. When it comes to giving a classic sound a new contemporary twist, there is simply no-one better.

With the arrival of the 'reflector' label the world is his, and he has embraced it whole-heartedly as in the past the world embraced djhmc; once again its time to prove why he is one of the most talented techno and house producers and DJs to ever grace the turntables....the Godfather is back!

Hlanganani Music proudly presents its second release from young fast-rising producer Deep Sixty. Although his name is little known outside of Soweto and Johannesburg, already Thabiso Mamogwa has shown the determination to reach beyond his immediate world and make his musical message heard. In 2010 he made it to London to take part in the Red Bull Music Academy, which is when the HLANG team first heard the tracks that make up the Mme Hayo EP. From the same momentous trip, Mamogwa managed to get into a studio with Todd Osborn (a.k.a. Osborne, Soundmurderer), resulting in the "Thursday Nights" track which Mamogwa has self-released.
The purpose of Hlanganani is to provide a channel for the talented producers of South Africa to present their craft beyond the limited reach of their own country, opening their music up to collaboration and cultural crossover in the process. With his tenacious attitude and distinctive fusion of African traditions and contemporary techno influences, Mamogwa represents the perfect example of what the label is striving for, hence they waited five years to be able to release Mme Hayo.

For more than a decade, The Bunker New York has been a nexus point for the transnational techno community.
A chance meeting at The Bunker in 2011 brought together Gunnar Haslam and Johannes Auvinen (also known as Tin Man), who became fast friends and collaborators soon after, conceiving a joint project called Romans. The Bunker New York is proud to present Romans' Ambulare Aude, a collection of atmospheric acid techno tracks following the project's debut on Auvinen's own Global A in 2014."The Roman theme opens a world to explore beyond both of our past endeavours," says Auvinen, explaining
the conceptual genesis of the collaboration. "In the same way Ennio Morricone may have conceived the 'Spaghetti Western' genre by fusing together various contemporary motifs and moods to conjure the spirit of a past era, we're imagining stories and scenes from the Roman era, trying to manifest narratives while celebrating the distortions we see looking through the murky lens of time." And while Morricone may be a conceptual reference point for Romans, their sound is anything but—instead offering up a pair of murky, psychedelic acid-etched cuts (Emona, Delmenium) buffered by a gradually unfolding up-tempo floor-burner
(Coptos).
The record is the result of several extended improvisational jam sessions in Vienna and Brooklyn in which both
artists would play off of each other in the studio. Accordingly, each of the three tracks have a slight aleatory
air about them, as though both artists are being led down an unforeseen musical path, not entirely certain of
where it leads. This culminates in Delmenium, the record's B-side, a true techno journey, featuring an emotional, metallic synthesizer coruscating against a melancholy background.
"I like to think what we make sounds simultaneously like both of us and neither of us. We both push each other
in different ways," Haslam says, recounting their production process. Auvinen adds that "(Collaboration) offers a chance to hear from someone else's perspective. Working with others, I'm often reminded of how radically different the way people hear things, and relate to them in a musical context, can be."

Just This is Hunter/Game new label based on their well known party in Milan.
Just This is the expression of a social, metropolitan and underground movement we are living and going through all together.
Our Mission is to give room and importance to Art and Music which are still evolving day by day.
Just This is aimed to frame these changes, which are going to be the picture of today and the future memory of the cultural movement of this age, throughout a series of messages, images and sensation drawn inside the audience.

Furthermore, thanks to the energy, the happiness and the magic charm of our parties and events, talented and unique artists, from all over the world, use their way to interpret music to communicate people the real core of this change:
the future is changing...

Bunny Lee's Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975.The style based around the Philadelphia disco or the Philly Bump ,the sound of an open and closed hi-hat was not necessarily novel but Striker's innovations of bringing a number of different elements into play most certainly was.
Johnny Clarke's interpretation of Earl Zero's 'None Shall Escape the Judgement' not only opens this se but also opened the floodgates for the flyers style.
The story had begun the previous year with Lowell'Sly'Dunbar.
'Sly played the flying cymbals first'....I said to Sly' You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' AND Sly played it before that was with Skin, Flesh & Bones on 'Here I am Baby Come and Take Me' the Al Green tune, when Al Brown sung it for Dickie Wong with the 'tsk,tsk,tsk' sound on the hi-hat,I named it flyers but they didn't know what flyers was!!!'..Bunny Striker Lee
Before too long 'Every tune we put out we put the rhythm behind it' and every Kingston producer followed suit with their own variation of Striker's Flying Cymbals Rhythms...........

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!! Analog Africa compiles a complete collection of Amara Touré's Afro-Cuban compositions, originally released between 1973 and 1980."Lamento Cubana and Temedy are the two finest Afro-Cuban compositions ever recorded. As if they were played in a smokey, poorly lit ballroom where dark rum was sipped ever so slowly" - Vikram Sohonie - Ostinato Records
Analog Africa to release a compilation by Amara Toure, the enigmatic Afro-Cuban musician from Guinea-Conakry, showcasing all of the 10 songs he ever released between 1973 and 1980.
"Latin music, is it really foreign to us Africans I don't think so. Listen to the drums, to the rhythm. It all seems very close to us - it feels like it's our own culture," declared enigmatic singer Amara Toure. It is the late 50s, and Senegal is going crazy to the groove of Son Montuno and Patchanga. Brought to West Africa by Cuban sailors in the early 40s, these styles were immediately adopted by a flourishing music scene that did not hesitate to embrace the Caribbean sound, mixed it with their own Folklore, and, in the process, created something new. Through the unique cultural fusion of West African and Caribbean influences, Latin music took on a new and unique sound - the format was reinvented. Producer Ibra Kasseì and his Miami nightclub acted as the spearheads of this movement. They brought a breath of fresh air into Dakar's nightlife, further energising one of West Africa's most exciting cities. The demand for ballroom parties and live acts exploded, attracting numerous musicians from surrounding countries. One of the musicians who answered this call was percussionist and singer Amara Toureì, from Guinea-Conakry. Spotted by Kasseì while performing with Dexter Johnson, Toureì was asked if he would like to be part of a new project. Little did he know that this project would become a phenomenon.Immensely important for the development of Senegalese modern music, Le Star Band de Dakar, led by Mady Konate, became a sort of musical incubator and workshop, where many musicians learned and practiced their trade before moving on to become stars in their own right. Toureì's talent on percussion was undeniable, but it was his powerful and raw voice that captivated the producer. The fascinating way Toure interpreted Cuban music was unparalleled, and it was this feature that encouraged Kasse to recruit the unknown artist.
Although already brimming with incredible talent, Amara Toure's joining of Le Star Band de Dakar in 1958 began the band's meteoric rise to the top. The band quickly became Dakar's number one orchestra, and it cemented the reputation of the Miami nightclub as the hottest spot in the country. The place was packed nightly, and Dakar was boiling.
Amara Toure's Senegalese adventure lasted for ten years when he received an irrefutable offer and in 1968, joined by a few talented Senegalese musicians, headed to Cameroon and immediately formed the Black and White ensemble. Many live gigs later and it was time for the first songs to be recorded. A total of three singles were produced between 1973 and 1976. These singles, representing the first six songs on this compilation, fully epitomise and distill the essence of what Toureì had learned during his career. His Mandingue roots fused with the Senegalese sound that he had mastered - the perfect foundation for the Toureì's Cuban interpretations.
If Toure's intention was to create the most sensual music ever recorded in Africa, he might very well have reached this goal. The musicians on the recording sound like they are playing in a smokey, poorly lit juke joint, where dark rum was sipped ever so slowly, and the pulse of the music took up a life of its own. How many couples have danced, swayed, and melted together to the distinct sound of Amara Toure Nobody can say for sure ...
Amara Toureì's success poured across the borders of Cameroon, and in 1980 he went to Libreville, Gabon, to team up with the powerful Orchestre Massako. Toureì recorded an LP at that time which is hailed by many music aficionados as one of the very best African albums. The songs from that LP are the last four on this compilation. It took only ten songs for Amara Toureì to become a legend. These ten treasures, representing Toure ìs complete discography, have been carefully re-mastered from original session tapes and vinyl records, and will be released by Analog Africa on 22 June 2015. After the release of his LP in 1980, Toureì seems to have disappeared. Apparently he was last seen in Cameroon but it is unknown if he is still alive today. His music though is definitely alive.

The late Dena Barnes reputedly recorded four sides for Harry Balk in the Impact studios circa 1966-67, two are featured here, the other two have yet to surface... oh what joy! If You Ever Walk Out Of My Life' IS Northern Soul to many devotees ever since it was first spun on the UK club scene some 40 years ago. Co-written by Gar'dena' Barnes and Duke Browner, during his glory years, and arranged by Detroit royalty Mike Terry. Surely this iconic double-sider demands to be in every soul fans collection.

SALES POINTS:
All time Northern Soul Classic - Two fabulous sides
Massive appeal to ALL Northern Soul fans

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

a1. Celestial Encounter (Original Mix) 6:08 - 4×4 driven groover laced with choppy hi-hats, complexed rhythms, and orchestration only fit for mental travels. An uplifting tune of spirit and electronic sorcery.
a2. Ominous 4:58 - Steely industrial percussion, creepy atmospheres, dance floor know-how....The honest depiction of the title lurking within the corners of your psyche.
a3. Celestial Encounters (Interlude) 1:22 - A fine example of the latest in signature interludes from the 'Optic Nerve' project. Movement & Imagination.
b1. Jazzy Circuitry 4:49- Moody, computer-ridden textures walking along side a odd-time signature until the introduction of the bassline and trippy piano keys seal the deal on craft & creation. Niceness, Indeed.
b2. Jazzy Circuitry ( Blaktony's Step Glide Remix ) 4:18 Traditional 'Optic Nerve' ambience is chopped & rehashed into a 1/2 step groover; Then.... blasted into a full jam session by 'Blaktony'. Madness/A complete new trip on the original structure & tune.

Intimate Friends brings you Roman Rauch straight from the home of the Wiener Schnitzel with three twisted rolling Tracks and a messed up remix by Glenn Astro on top. Roman is known for almost a dozen releases on labels like Endless Flight, Philpot and Quintessentials. "Got To Be" features the deep spoken word message from Caits Meissner. Big one!

Es ist die langerwartete Rückkehr einer klassischen Kombo - die Kompakt-Koryphäen MICHAEL MAYER und REINHARD VOIGT verbünden sich für TIME IS RUNNING, der nächste Geistesblitz in einem fortlaufenden Dialog, der uns bereits legendäre Releases wie etwa Speicher 2 bescherte (KOMPAKT EXTRA 2, mit den Tracks "Pride Is Weaker Than Love" und "Supertiel"). Wie von tanzflurerprobten Produzenten wie diesen beiden zu erwarten war, trägt das neue Material alle Kennzeichen eines Clubfavoriten, geprägt sowohl von der knackigen Rauheit der frühen Kompakt-Stampfer als auch vom ausgeklügelten Klangspektrum unseres aktuellen Katalogs.

'We Start Over' arrived on the desks at International Feel and it felt perfect for us. Deep electronics, a lovely mood, forward thinking and a gorgeous vocal from Trudie Dawn Smith. Lots to play with from a remix perspective and a great original track in itself. Steve Cobby is a British producer, musician, composer, and DJ, based in Kingston-upon-Hull, Yorkshire. He co-founded Fila Brazillia in 1990 and released 10 critically acclaimed LP's and produced over 70 remixes for artists as diverse as Radiohead, Busta Rhymes, Black Uhuru and A Certain Ratio. Cobby now releases music via his own label Déclassé label. His latest and third solo LP 'Saudade' was released in March 2014 and received considerable critical acclaim.

The first 12" consists of the original version and on the flip a remix by Apiento & Lx (their first track together since the underground classic 'The Orange Place' ). The remix is slow trance in its purest sense, made for lasers and dark nightclubs. It's already receiving club play and has been named by Andrew Weatherall and Sean Johnston's ALFOS as "one of the records of the summer". High praise.

On the second 12" the reins have been handed to Gerd Janson & Phillip Lauer a.k.a Tuff City Kids - two people making some of the finest house at their at the moment with Janson also getting massively known globally for his DJing. Their remixes are made for the clubs. The 'Garage Dub' is classic New York house that is as deep as you like and one of those hooky ones that does everything perfectly. The other, 'Private Acid Mix ' goes heavy on the beats and drops the 303 in a fine style with the vocal looped and twisted.

As you would expect from International Feel this is classy and classic club music covered from all angles from a balearic original, a deep chug remix from Apiento & Lx and the Tuff City Kids bringing the house vibe. Deep deep deep.

Gatupreto, enigmatic duo, hiding their identity while exploring the common ground between an idealized African feeling and the classic references of the dance movement from the 80's and 90's. The art Gatupreto generates is simple, unpretentious and sincere, it owes to the classic rave vibe as much as to the rawness of hip hop.. as much to the sunset of Cape Verde as to the sunrise of the Lisbon riverside.
Gatupreto is a binomial entity that refers to itself as one, it was rescued from anonymity by TINK! Music, newly founded label split between Amsterdam and Lisbon. To the extend of most people's knowledge, Gatupreto comes from a colorful Lisbon suburb where they inhabit a luxurious house, on an isolated hill where music is made every day.
Those who have seen them perform live say they are frenetic and deep in their sound. At night all cats are black.

Clip! steps up to the plate as FINA White continues to set out its stall as a go-to label for top quality techno.

Second up on FINA White is a four tracker from rising Barcelona producer, Clip! Since being cherry picked by RBMA back in 2011 Clip! has quickly established a name for himself in and amongst the city's growing pool of electronic artists and further beyond. Diverse releases on on Discomaths, Classicworks, Sweat Taste and JD Records, coupled with his signature 'hardware only' live shows, showcase his sound shifting style and impressive knowledge of sound design - unsurprising perhaps given his classical and jazz music roots.

Clip! is a chameleon of sorts and for FINA White, he puts on his thick skin and offers up a package of pure and unadulterated peak time cuts.

The title track is an absolute sonic stonker. Its menacing bass line, low end throb and sharp edged hats roll and slice with a galvanized intent whist the old Chicago house sample and gradual layering of pumped up beats and sustained synths give it an unmistakable groove with attitude.

Meanwhile, long drawn out synth tones, distorted vocals and broken beats make up the stirring intro of 'R36'. The calm is short lived of course as the steady beat gives way into the track's defining hard-hitting bassline; one that is enveloped and then let loose again by a carefully crafted fusion of atmospheric sounds.

On the flip side, 'Forward' is, well... forward; a no messing, relentlessly percussive banger. And wrapping up the EP is 'Dissonance's Technique' an equally straight-up, rough n ready belter which once again showcases Clip!'s skills in the studio. Watch his space.

'Brotherhood EP' is out on FINA White.

The Bunker New York is proud to announce the second EP from Mehmet Irdel, also known as Løt.te (pronounced Loat-tey), following his debut release on our label in 2014.
Løt.te's 'History of Discipline' EP features two distinct moods and detailed, industrial-inspired sound design with a firm focus on the dancefloor.

"When I discovered the heavy, dark techno coming out of the U.K. and Japan in the '90s and '00s, like Regis, Surgeon, Female, and Takaaki Itoh, it was a revelation," Irdel says. "Until then, I hadn't realized that techno could reference the grittiness and physicality of industrial music and make it work so well, and feel natural on the dancefloor." These muscular, upbeat techno artists are the perfect reference point for Løt.te's music, but Irdel takes his work one step further, featuring an emotional complexity that many other producers lack. "I'm interested in techno that feels both masculine and feminine at the same time," says Irdel. "These days, most techno feels either very intricate and clean, or very noisy and macho. What interests me is finding an in-between."

True to its name, "History of Discipline" is the darker track here. Built on a foundation of heavy, swinging kick drums and shuffling hi-hats, the track builds to an enormous climax before winding down into a rattle of metallic percussion. "A Mutable Constant" is more ambiguous, featuring a rubbery bassline and steadily-building background percussion - until a moody, longing synthesizer pad begins to take center stage. "I don't honestly know where the emotion in 'A Mutable Constant' came from. That wasn't the plan when I started working on it," recalls Irdel, "but I incorporate a mix of analog synths into my productions, like the Korg MS-20 or Doepfer Dark Energy, and their sounds sometimes surprise me. My production process begins and ends with a computer, but I love being able to have that '90s analog sound' in my work. I'm very conscious of not having any 'overly digital' sounds in my tracks."

Løt.te's latest EP embodies the spirit of techno while simultaneously pushing its sound forward. "Techno, for me, is an experiment in human perception. A way to find the fringes of perception in rhythm, melody, and emotion, to push all the way to the edge, to find the breaking point. I'm trying to push techno's boundaries without ever losing sight of 'what makes techno techno': its restraint and groove."

Recorded in 2014, Stranger Than You marks a conscious return to the sounds and styles explored on their debut album Swimming in 1982. There's a strong element of reconnection,' explains singer/songwriter (and bassist) Michel Sordinia. Yet at the same time it's also about developing your own legitimate strangeness, just as the great Surrealist poet Rene Char invited his readers to do. A new mystery singing in your bones.'

Michel and guitarist Marc Deprez are joined by new members Laurent Loddewyckx (drums) and Christophe Boulenger (keyboards and piano). Stand-out tracks include the dynamic title track, Kids On Fire and quickfire Boy With A Gun, as well as more contemplative, elegiac numbers such as Lights and My Angel of Death.

The cover art is an original painting by long term Names associate Benoit Hennebert, celebrated for his work as design director for Les Disques du Crepuscule, with portrait photography by Peter Staessens. The double vinyl edition is housed in a deluxe gatefold sleeve and includes a free digital download code.

Iggor Cavalera is best known for his part as the drummer of Brazilian super-group Sepultura. Having toured heavily around the globe, winning several 'Best Drummer' accolades and sold over 10 million records, Iggor's incredible ability to project emotion and evoke thought through his percussive talents is being given an outlet in the form of his exciting collaboration with his DJane wife Laima Leyton, MIXHELL.
Iggor and Laima took MixHell from the studio to the stage, adding uplifting elements of rock into electronica and giving it all an organic, intuitive and complimentary touch. Armed with an MPC Sampler, turntables, CDJ's, mixer, a full drum-setup and miscellaneous percussions their eclectic and energizing live stage performances are pure eye-candy with music created on the fly. MixHell do things in a big way and in doing so, are delivering a show that fully explores their vast background of musical influences.
The exercise of performing live tracks that were made to DJ comes to life even more on this acid house release with the collaboration of acclaimed producer GUI BORATTO.
When rock turned into bubble gum' music, when EDM sounded too shallow, Mixhell continued their research - reviving and recreating what they loved in each style. Let there be house, let there be techno, let there be rock, in the end what really matters is the MUSIC.

Record Store Day 2015 will see a special release from Gene Hunt directed and selected by label boss I-Robots.

The two track vinyl EP features unreleased material produced in the early years of the famed Chicago artist's career in the 80s and is dedicated to musical legend Frankie Knuckles who appears on the artwork in a rare picture with Gene Hunt from back in the day.

Gene has regularly produced and remixed for the label before now (including remixing Klein & M.B.O. 'Last Call' and on forthcoming I-Robots project 'Dirty Talk' ft. Donna McGhee) and has already assured his place in house history as a DJ headlining clubs like Warehouse and the Music Box as well as playing with the likes of Ron Hardy and Larry Heard.

As a producer he has been on top of his game for three decades and has released on legendary imprints such Rush Hour, Svek, Djax and many more, so is a true house icon.

His first cut here, 'Drive Yourself Nuts' is a classic bit of Chicago jack with prickly percussive patterns staying busy on top of punchy drums. Wonky bass, physical grooves and coarse claps all make this one a standout banger for the peak of the night.

On the flip of this special package, 'Wildside D Dubb' is a slow building, mania inducing tune with a lead synth line slithering about over dusty metallic drums. Eventually some acid bleeds into the mix and pans all around, adding a sense of scale to this heady, freaky, dance floor smasher. As ever, Opilec Music show others how it is done with this real and rare bit of true Chicago house history.

Hailing from Berlin, but spiritually from Chi-town, Snuff Crew are back in your area with some freshly served up basement goodies once again. Following on from Basement Jams #1, from all the way back in 2011, the boys bring us tracks with the same playful nature as before but, dare I say it, they go even harder this time. Stalwart fans of the first release can stop reading now because it will almost certainly be a blind-buy for you; four tracks obviously engineered for use in the club, whether its the massive kick in 'What It Is' or the ravey acid lead in '88cents'. The jams on the B-side may do the most damage. 'Remember' holds absolutely nothing back, with its arpeggiated bassline lead and crisper than crisp 909 drum programming. Analog is a term that gets bandied about all the time nowadays, ever since so many young producers became enamoured with tape compression and hiss delay plug-ins. I know Snuff Crew are real analog guys though, in sound and mentality, so hearing Basement Jams #2 for the first time had me so excited once again.

Four years since they released Dring, Nôze are making a very welcome return to Circus Company with their fifth album Come With Us, and once again the pairing of Nicolas Sfintescu and Ezechiel Pailhes has yielded a collection of captivating and curious songs that could only come from the unique sound world they inhabit. As has been evident throughout their career from their early experimental house days through to the more recent song-based material for Get Physical, the Parisian duo have always moved on from album to album, maturing their sound to deliver a new experience for themselves and their listeners every time. On this occasion, Come With Us finds Nicolas and Ezechiel in a particularly introspective mood. Even as their work has naturally turned more to home-listening craft over the years, here they revel even more in personal reflection both musically and lyrically. Tracks such as Saint' conjure up the romanticism of dustbowl blues with its vagabond guitar tones (played by long time collaborator Thibault Frisoni), while Nicolas's voice reaches new distinctive heights in spellbinding tales like Apache". Emiliano Turi also lends a new sense of natural groove to the Nôze sound with his live drumming, and as ever, Nicolas and Ezechiel are keen to bring their friends into the fold for guest vocal spots. Dani Siciliano spars beautifully with Nicolas on the disco-inflected album opener I Need To Know". dOP vocalist JAW, fresh from his Midtown project, joins in for the bittersweet balladry of Come With Me".