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Having spent the past few years quietly building up a dedicated crowd of followers and dancers as a club night, Scenic Route step out for their first offering as a label with three expertly crafted club cuts from Desert Sound Colony, an artist whose pumping productions have provided some of the parties’ most memorable moments. Since his debut release in 2014 on New York’s Scissor & Thread, Desert Sound Colony (real name Liam Wachs) has been refining a deeply personal club sound with releases for the likes of Futureboogie, Me Me Me, his own Holding Hands imprint and most notably of late, Nick Höppner’s Touch From A Distance. In addition to his productions garnering support from the likes of Midland, Raresh, Andrew Weatherall and Lena Willikens, Wachs himself is also a highly sought after DJ whose skills have seen him land bookings at some of the world’s most well respected clubs and festivals, including two stints at Berlin’s Panorama Bar already this year.

His prowess as a DJ has undoubtedly informed the music featured on the Cartographer EP. All three tracks are primarily designed for club use yet their intricate arrangements and undulating instrumentation ensure they remain captivating, despite the effectiveness of their functionality. The EP’s opener, “The Cartographer”, is a sleazy machine-driven odyssey, continuously building and evolving until snapping back into its original groove with a vengeance. “Gypsy Moth” sees Wachs team up with fellow Holding Hands affiliate Guava (real name Bradley Hutchings) for a dangerously syncopated drum workout doused in warped agogo bells, spliced vocals and a two-note bassline with a distinctly London flavor. Rounding the release off is “Budapest”. The combined power of the track’s interlocking kick and bass provide a solid stage for Desert Sound Colony to unleash an eerie arp and pads combo alongside a flurry of stuttering percussion and twisted samples while intermittently sprinkled with an unintelligible and downright ominous pitched down voice.

PLR is proud to host a variety of talented producers from around the hemisphere, from Berlin to Montréal to San Francisco. The label is a brainchild of independent artist Experimental Housewife and was kicked off by prolific producer Roche (100% Silk, Jacktone, Hobocamp) and his breath-taker A Genuine Effort To Make You Comfortable. Soon after, the spring saw italo-sprinkled dance floor beats followed by slamming techno and weirdo-tronica, a non-genre made of intriguing sounds that play tricks on DJs. In closing, the roster will be opening ears up with a wonderful miniseries of ambient releases before the final EP: arpeggiated pop from conceptual two-man band Star Service .

Premiere producers like Lily Ackerman (As You Like It, Mioli Music), CMD (Jacktone, basic_sounds), Golden Diskó Ship (Monika Enterprise, Spezialmaterial, Klangbad), BLEIE (B.O.D.I.E.S., 3am Devices), Mo Kudeki (Noctuary, Public Works), and Tape Ghost (Asterisk, Night Sea) have all signed up to the roster, releasing fierce and excitable works that they have had for a while but hitherto were not able to release to the public.

Reverenced names like Ryan Merry (now Elexos Park but formerly Ghosts On Tape), Roy England (Make Mistakes, Communikey), Caltrop (In The Dark Again), Loren Steele (Wolf + Lamb, Jacktone), and Philadelphia warriors Sean Thomas (Drumsong, Sound Between Movement) as well as bpmf (Schmer, Serotonin, Prototype 909) have all offered exclusive productions.

Mysterious and up-and-coming producers like Emmett Perlman (Wage Slave, Make Mistakes), Bad Person , gayphextwin (Jacktone), BIlagáana (VODER), and Atlas Of Nothing can be explored in the catalog alongside new names like Memeshift, The Hug , and Jaclyn Kendall .

Our spotlight mastering engineers for digital releases include David Last, Abe Duque, Dark Star Audio, David Tatasciore, and Helen Heß. Our resident and extremely generous/talented engineer for the year has been the one and only Roy England.

Limited pressings of analog techno and electronic music .

The project highlights the personal outlook of Gaffarel’s underground sound.

known as Gaffy on his previous singular productions, percussive DJ sets and stupendous live acts, this imprint is a new platform for the Parisian artist to introduce his solo work, collaborations and remixes.

He has skillfully blended forthcoming EP’s with a mix of complex mental grooves, meticulous frequencies, conspicuous themes and textures, capturing a musical universe with remarkable knowledge.

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

An outstanding artist since his earliest productions, Pablo Mateo now fully joins the ranks of Figure for his first album. On this versatile LP finally expands his complete creative vision of what techno music truly means to him.

Weird Reflections Beyond The Sky is an album that is accessible to all audiences. When engaged with actively, it holds narratives deeply connected to personal experience, going beyond what words or even images can describe. Confronting the listener with their own complexity and emotions is both its feat and feature. A beautiful use of technology and synthetic sounds as a means to journey far within.

An open invitation to drop all expectations and simply let the mind wander, creating an immersive soundtrack for each individual to explore.

Johnny Clarke is one of the great vocalists that ruled the Jamaican Dancehall scene from the mid – 1970’s to the early 1980’s. While Bob Marley was out conquering the world, Dennis Brown, Gregory Issacs and Johnny Clarke were winning the hearts of the Jamaican people .Johnny Clarke’s use of the ‘Flying Cymbal‘ sound took the Island by storm and produced a run of hit singles few could match.
Johnny Clarke (b.1955, Jamaica, West Indies) cut his first record ‘God Made The Sea and Sun’, after winning a local singing contest in the Bull Bay area of Jamaica. Although the single was not a hit, it led to two follow up tracks for producer Rupie Edwards, ’Everyday Wandering’ and ‘Julie’ that fared much better, both on the island and oversees in England and Canada. These tracks also brought the singer to the attention of producer Bunny Lee and a working relationship that would go on to produce a prolific catalogue of music. Johnny Clarke’s Dread Conscious / Love Song style were to grace many hits around this time in 1974. Such tunes as ‘None Shall Escape The Judgement’, ‘Move Out of Babylon’, ‘Rock With Me Baby’, ‘Enter The Gates With Praise’ to name but a few. All new songs added to a host of cover tunes, recommended by Bunny Lee, many taken from the singer John Holt’s catalogue, that suited Clarke’s vocal style. The rhythms were cut at various studios around the Island. Randy’s Studio 17, Channel 1, Treasure Isle, Dynamic Sounds and Harry J’s, by a group of musicians loosely called the Aggrovators and some tunes incorporating the ‘Flying Cymbal’ sound again introduced by Bunny Lee, working the Hi-Hat in fine style. The tracks were then taken to King Tubby’s studio where Johnny Clarke’s vocals would be voiced.
Another phenomenon that was happening in the early 1970’s, was the version cuts to vocal tracks. This is when the tunes were cut back to the bass and drums and the vocals were dropped in and out in a dubbed style, and reverb and echo and various effects were added to these tracks. The main exponent to this style was King Tubby himself, and as was the fashion at the time, each vocal track would carry a version as its B-Side. Producer Bunny Lee lead this style working closely with King Tubby and all of his singles from then on would carry a Dub cut on its flipside. As Johnny Clarke was one of Bunny’s main singers at the time, we would hear a great selection of popular songs getting the dub treatment and in many cases the single was purchased for its more exciting dub cut, again made popular at the various dances where the dubplates were played out. We have compiled some of the best of these dubs from the time and put them together for this release, hope you enjoy the great voice of Johnny Clarke alongside the productions of Bunny Lee and the creative genius of King Tubby, a great combination we hope you will agree….

Official remastered limited edition of Cellophane project from 1984 produced by Alessandro Novaga, one of THE major influences on Chicago House Music with his trio of releases -Drums-, -Electronic Drums- and -Faces Drums-, all essentially EPs of tough electronic bonus beats, creating the blueprint for many early Windy City productions. He was also behind other such hugely influential cuts as Stopps -Im Hungry- and -Ali Shuffle- by Camaros Gang. Here on his Cellophane album, which came after the huge -Gimme Love- single, we get what I guess you could describe as his magnum opus. The album consists of just two long tracks (or suites perhaps?) that take the listener of on an epic psychedelic italo /space disco trip like no other. Heavy use of synths and drum machines expecially on the part 3 !

The second edition of Dekmantel’s foray into the era-defining, trans-Atlantic, cult techno label that is Djax-Up-Beats, comes another re-issue of classic 90s cuts.

The label say "The Dutch label was responsible for releasing some of underground’s most foundational dance music, mixing together Chicago and European artists alike, and acting as the launchpad for some of today’s biggest producers. Featuring offerings from luminaries such as Felix Da Housecat, and Glenn Underground, alongside veterans such as Steve Poindexter, and DJ Skull, this second EP highlights the classic label’s old-school’s sound, while showcasing its diverse range, from dubbier, ambient moments, to wall-thumping, body crushing house force. Timeless music, repressed, and re-released for a new generation of DJs who covet the classic machine music.

The second re-issue EPs, offer a more introspective look at the label’s earlier releases. Leading Volume 2 is Terrace’s 'Bewitched', to which DJ Richard has described as being the defining track of the label’s beginnings with its "dreamy, Detroit-style techno mixed with the harder rave elements of Northern Europe”. Glenn Underground’s bass-roller 'Real Space' weaves together soulful passion and Chicago prime beats, while Felix Da Housecat’s Temptation — originally from 1993 — gets a well earned re-release, reminding us of the soulful, deep and lustful energy the producer once had. China White, whose name doesn’t get banded around as much as it should nowadays, see their ethereal hit 'Theme from the Underground' get another opportunity to bliss out the more upbeat rave community.

The energy turns darker with Frank de Groodt’s The Operator, breaking the outer-most barriers of electro-techno, with 'The Mind Strike'. Chicago and Dance Mania’s Steve Poindexter turns out rolling, dance-energy bomb 'Body Jam', while Mike Dearborn’s deliverance of unreal, dry techno in 'Deviant Behaviour' runs aplomb with classic drum-machine pulses, claps, and uncomfortable, yet punishing melodies. DJ Skull’s 'Don’t stop the beat' rides the EP with gushings of hand claps, and gentle, early 90s warm techno color, that transport you back to a time of more informed, and conscious electronic musings, a feeling that embodies Djax’s heyday.

Founded in Eindhoven at the turn of the 90s, Djax-Up-Beats quickly earned an international reputation for being a key source of Chicago house, acid techno, and floor-filling, heavy-hitting, straight up underground 12”s. It’s a sound that spawned the sonic aesthetics of today, and can be heard in the left field techno productions of the likes of Bjarki, Salon des Amateurs and other erstwhile analog junkies."

King Of Kong Records, a new venture of Artur8, Anton Klint & Edvin E. presents it’s new release, the “World Museum” EP - a modern classic from Newborn Jr.

Warsaw-based producer Adam Brocki released a string of collaborative records - with Earth Trax (Bartosz Kruczynski) for Phonica, Dopeness Galore, Echovolt and Rhythm Section, or as Private Press for Rekids and Indigo Area. His mature, carefully crafted sound, stripped yet powerful, now finds its place on King Of Kong.

“What What What” starts the EP off on a right foot: broken rhythm, clever voice snippets, cosmic pads and heavy bassline reminds of some archetypal Shake productions, off-kilter yet somehow infectious. “World Museum” rolls out relentlessly on a steady kickdrum, and again the backbone is held firmly by bass. Swirling noises come and go, adding a dash of melancholy into this club-ready tool. “NJ Public Pool” again sounds like a long-lost timeless classic, with just right amount of melody and irresistible party vibe. It’s accompanied by a moodier and denser remix from Warehouse Preservation Society (aka TK Disco and Tavish (ESP Institute)), a druggy chugger for late night and dark corners. Rounding off the EP, Yourhighness of Rollerboys & Cocktail D'Amore Records fame straightens the beat and pushes up the tempo of “What What What” to deliver a proper party stomper. A classic sound of two decades of dance music underground updated for here and now.

The second full-length LP from Jungle Brown, ‘Full Circle’, drops on Mr Bongo in September 2019. Featuring collaborations with Sampa The Great, Fliptrix (High Focus) and Terri Walker amongst other super-talents.

The trio – Ric Flo, MAEAR & Tony Bones – have spent the last two years redefining soulful hip-hop – the sound is bigger, more thought-provoking, and it has matured with a rich soulful underpinning. They have also entered territories fans are yet to hear from them as they glide effortlessly over Tony Bones’ productions that introduce trap and house into their repertoire. The
project is an eclectic array of their influences, twisted and blended together to create a ground-breaking release for UK music.

Jungle Brown’s debut album ‘Flight 314’ has achieved more than a million streams without any budget for marketing or promotion. They spent much of 2016 in Apple Music’s ‘Best of 2016 category, featuring on Spotify and SB.TV, were requested to curate an exclusive playlist for Tidal and attracted attention from New York with Beats 1’s very own, Ebro.

They’ve shared the stage with the likes of De La Soul, Ghostface Killah, Lowkey, Akala and Donaeo, played major festivals including Glastonbury, Boomtown and Lovebox as well as a huge number of clubs shows across the UK.

It has been a long time coming, LDDLM is more than happy to welcome a house friend, Cosmo Vitelli.
This EP is a complement to the recent (and forthcoming) Malka Tuti releases, coherent fragments of a creative year. If Cosmo is known for his wavey-krautey (I have no other words) productions going back to the Bot’ox days, he also has a meaner side.The aptly titled “Un Episode Psychotique” is disco gone wrong, italo with neurosis, straying from polished clichés, musical yet strangely anxiogen.It is turned into an Eighties monster by GOTT aka Sneaker and Scannoir. Their Creatio Instrumentalis is a cold funk monster and their Creatio Continualis amps up the EBM factor.
How does one translate Giallo in Croat? “Tisja” may answer the question, the spoken words of Tanja Vežić burning through the celluloid.

Finally, “The Shy Dictator” is like an early Chemical Brothers breakbeat monster, powerful yet psychedelic, canalised fury of bells and drums.

This four-track-EP celebrates the spirit out of which Seilscheibenpfeiler was born. It contains two unreleased 1994 productions by Sebastian Szary’s Fundamental Knowledge project, which started the label back in the day. They are complemented with present day reworks by Fadi Mohem and Skeemask, breathing new life into these 25 years old but far from outdated tracks by adding a little extra punch through modern means of production.
Fadi and Skeemask deliberately don’t apply any specific modern elements to Szary’s vintage tracks, instead they enhance their classic Minimal-meets-Hardcore-meets-Acid feel. It’s a transmission from a Golden Techno Age where all was one, capturing the sweaty, hard, yet light footed sound of post-wall Berlin, with all its associations from Tresor to Love Parade.
„1994 - 2“ sounds hypnotic and airy, while rumbling on the lower end. What a perfect opportunity for Skeemask to flesh out the track with his hefty trademark breakbeats! Fadi Mohem revamps the acidic „1994 - 21“ with equal respect and efficiency, providing the kick drum power needed for big soundsystems.
If you don’t look at the titles, it may at first be hard to discern which is which, what’s past and what’s present – a fact that honors both versions new and old.

Roberto Surace and Cosmin Horatiu head to Bamboleo to close August with their split EP ‘Sintonia’.

Launched in early 2019, Neverdogs’ Bamboleo Records imprint has quickly emerged as a go-to outlet for fresh productions for the industry’s biggest names within house and tech house, with support over the first four releases to date from the likes of Marco Carola, Stacey Pullen, Jamie Jones, Paco Osuna and Oxia to name just a few.

Next up, the Italian duo welcome Rome’s ‘man of the moment’ Roberto Surace, following releases on NONSTOP, elrow and Noexcuse, and rising Romanian talent Cosmin Horatiu as each artist delivers two tracks forming their split release entitled ‘Sintonia’.

Roberto Surace’s ‘Sintonia’ opens the package as the Italian opts for slick, rolling grooves that snake amongst soft floating melodies, before easing into second track ‘Subtitle’, featuring hazy synth lines, punchy kicks and rich chord patterns throughout.

On the flip, Cosmin Horatiu’s ‘Milk & Egg’ ups the energy levels with metallic drum shots, off the wall vocal samples and bubbling bass patterns, whilst switching things up and laying the focus on organic percussion hits and sizzling hats with closing production ‘Make It Rain’.

White Vinyl

Lars Hemmering is back with his second solo ep on Fullpanda records.
Also known as half of Live Duo – LADA with Dasha Rush, beside his own productions on DOCK records and among few others.

“Bloody &Soul “
Vinyl version – a collection of 4 intense left-field, abstract tracks, ranging from eerie cosmic like techno, throughout harder yet abstract beats, closing with dark ambient. Plus a digital bonus track.

A1.”Bless”
Dynamically hypnotic piece, where synth dominated baseline meets broken beats with barely present percussions, if refereeing to the classic techno approach, blending with dreamy chorals on the background.

A2. “Releasing Strains “
A moody melancholic cut with atmospheric, reverberating analogue synths and poly rhythmical structures.

B1. “Lars wars”
Takes us to more rougher side of techno, frantic energy with distorted syncopated rhythms tiny bouncing sounds that respond to over all dynamics.

B2. “Artarpet”
Closing track comes towards the dark ambient, that bring us to an empty like sound fields.

Okinawan talent City1 has been making some serious moves with his unique dark productions as of late and we are honoured to welcome him to the Subaltern family.

* Speak Out feat. Rider Shafique
In the mighty title track City1 delivers a clinical slab of bass science which gravitationally pulls deep into a different dimension. The dreamy yet dark atmosphere and vibrant basslines are graced by the elevating bars of none less than the notorious Rider Shafique - one of bass music’s finest vocalists hailing from Bristol.

* Koroga
Going even darker, City1 opens up another world in this trip of a track. Koroga rides on relentless dark synths and keeps switching up the pace, leading the listener through a maze of eerie sounds - be careful though, the walls are closing in. Dangerous!

* Zee
Zee is just as otherworldly as the first two tracks. With heavy hitting basslines and snappy percussions, City1 delivers yet another absolutely unique roller. Whenever you thought the track had arrived at its peak, it takes another, even wilder turn.

The Summer sun is shining. New possibilities and a new signing for FireScope. Miles Atmospheric aka Miles Sagnia is a U.K. producer whose absorbing compositions have garnered him with releases on A.R.T., Finale Sessions and his own Atmospheric Existence Recordings.

Four works make up Sky Healer. As with all Miles Atmospheric’s productions, there is a liberated and untethered touch to the entire quartet. From a steady kick and rusted clank, “Exoplanetology” sets sail. The track soars on rising strings, muffled samples feeding back indecipherable messages to terra firma. Bright bars introduce “Our Future”, notes shimmering in their radiance as dew drop splashes of percussion form. Xylophonic keys, energetic drums and silken tones coalesce to create the aquatic journey that is the “Waters of Life” before “See The Light.” Snapping drums from the bedrock from which a plethora of tones and textures grow. Sweetened lines ascend to bring perfect balance to this superb finale.

With Sky Healer, Miles Atmospheric accomplishes a very difficult feat. Not only has the British musician produced a body of techno that is organic and unencumbered but also, he has sculpted soundscapes to escape to.

Mihail P (Verdant/Where We Met/Magnonic Signals) returns to Distant Worlds with 4 more communiques of inter-dimensional wonder. Here, the Macedonian sonic strategist sets his sound palette ever wider whilst still maintaining his signature emotional pads and haunting melodies integral to all his productions. His hauntological approach bears fruit throughout -the future fails us so let's explore different futures, different interpretations of the past, the present. Certainly a maturation in sound, this manifesto offers up 4 distinct meditations on the continuum of electronic sound from the early 90s through to the present day and beyond...

Prolific multi-instrumentalist, producer, DJ, band leader, and 22a label founder and boss, Tenderlonious returns with a batch of new and old studio productions.

'Hard Rain' follows hot-on-the-heels from the acclaimed Ruby Rushton album 'Ironside', but whereas contemporary urban jazz was the focus there, Tender's solo record marks a return to another of the multifaceted artist's skills: dope house and beat music that oozes futuristic funk.

This sparse but perfectly-populated masterpiece takes inspiration from J Dilla and echoes elements of vintage Blaze, Larry Heard and Carl Craig. Warm and soulful, but also spacious and clean, Tender extracts maximum flavour out of just a few ingredients.

SEX MANIA is back! present most on the great past productions and also new releases! We're starting with the re-issue by DJ Duke aka Techfunkers - Techfunkers The Album:Techfunk Is Where It's At (Vol 2 Out Of 3) - originally released 1995! Stay tuned for more!

Big loud and proud Greensleeves 12” rounding up back to back 80’s vocal and dub Prince Jammy digi-killers.
Junior Murvin’s lethal Cool Down The Heat’ complete with killer dub backed with Nitty Gritty’s original ‘Run Down The World’ vocal cut now matched with the sought after Jamaican only dub mix.



12 inch single contains vintage King Jammy productions and exclusive dub mixes, released here for the first time

TV Victor was one of the first artists of Tresor Records where he became legendary with several of his ambient and trance productions including Trance Garden 1-3 and Trancecology Chapter 1. In 1989, he launched his first solo project: Moondance - The Magic Sound of the Moon, where he lay foundations for later explorations with experimental sounds fused with pop elements and anticipated an ambient excursion to be had in the future.

In the following decades TV Victor created impressive solo works that traversed between ambient and trance, he collaborated with artists like Moritz v. Oswald, Max Loderbauer, Ari Benjamin Meyers, Paul Browse and Tobias Freud. Contrary to common mainstream tendencies he created a very unique interpretation of both genres. In recent years Victor has concentrated on creating experimental and abstract sonic spaces for escaping reality, spaces that live through the imagination of the listener. Each piece, a segment of a larger musical movement; stands alone to create new sonic continuums. Otherworldy music that is in its own sphere.

30 years after the release of Moondance and 50 years after the first landing, Lullabies For Insomniacs revisit TV Victor's musical roots with 'Back To The Moon'. The previously unreleased works were carefully selected from his vaults and restored by Berlin based engineer Brett Olke (B Ashra), the album offers a glimpse into the future by creating a soundtrack for mankind's settlement of beyond in a conceivable hereafter.

PAREDO presents new and exclusive works by three female japanese music producers: KOPY, TENTENKO and MIKI YUI who are based in Osaka, Tokyo and Düsseldorf respectively and a radical reinterpretation using elements of the featured works by Lena Willikens, the PAREDO MEGA MIX. All four contributions showcase their highly individual approaches to contemporary electronic dance music. Paredo is directly informed by multi-directional encounters of four musicians and their close observations of musical production and reception in practice.

In 2017 Lena Willikens and TAL founder Stefan Schneider have both, though independently from one another, been invited to Japan under the auspices of the Goethe Institut. While Schneider researched electronic noise music cultures in Osaka, LENA WILLIKENS and her artist partner SARAH SZCZESNY developed aspects of audio mix and filmed footage for their collaborational art project PHANTOM KINO BALLETT while in residency at Villa Kamogawa in Kyoto.

"While in Kyoto, we often went to Osaka or Tokyo to explore the diversity of the music subcultures there. It was fascinating to witness how Japanese underground cultures adopt influences from abroad and turn them into something original and very much their own. We also saw live performances by KOPY and TENTENKO whom we quickly befriended."

KOPY is a consistant part of the vital electronic music scene from Osaka. Besides a few performances at Düsseldorfs famous SALON DES AMATEURS, she has also been invited by LENA WILLIKENS to her showcase at the MEAKUSMA FESTIVAL in 2018.

TENTENKO begun to enter into the japanese music scene with a steady flow of experimental cdr productions as well as collaborations with members of the legendary japanese noise band Hijokaidan.

MIKI YUI originally from Tokyo has lived in Düsseldorf for more than two decades now. Besides albums of her solo work for LINE (US), or more recently, for Cusp Editions (UK) she also collaborates with Carl Stone in the duo REALISTIC MONK (on the Meakusma label) and was a member of Klaus Dingers last band JAPANDORF (Grönland Records).

LENA WILLIKENS who has a background in fine art, first honed her unique approach during a long residency at Düsseldorf’s Salon des Amateurs. Outside of the club, the Cómeme label was home to her first EP, 2015's Phantom Delia. In 2017 she has released a remix of Kenyan singer OGOYA NENGO for the ON MANDE EP, TAL02.

The must have DJ tool is back for a third chapter

Label boss Pete OntheCorner has dipped into his secret stash of firelighters from around the globe.

On the Corner’s backroom and basement workout ‘Versus’ is brimming with heat and is once again the essential tool for discerning DJs.

The very latest productions, new signees, dubs and remixes bring a future taste of the action On the Corner. This uncompromising and unrivalled collection brings the label’s global family together on wax.

Versus III features tracks from Dengue Dengue Dengue, Khalab, Penya, Planet Battagon, Blood, Wine or Honey, James Stewart and the uncompromising street sounds of Mnanda from Dar es Salaam. Flexing their remix might for this 12”: Nicola Cruz, Mahgreban, Hieroglyphic Being and Sarathy Korwar goin’ in live.

There are some familiar faces occupying this tasty wax and some new comers.
Get your atlases out again as OtC criss-crosses the globe introducing you to artists from afar-afield as Dar es Saalam, Chicago, Hong Kong, Lyon, South London, Peru and Rome.

Gafacci is well known for notable artist collaborations, eclectic edits and his Asokpor productions. On this new four track EP, he steps out of familiar soundscapes, driven by his steady desire to ex-plore a more melodic side of his own production style. This led him to experimenting with the ,Lo-Fi' and infuse it with afrobeats as well as diverse tropical sounds.
Over the past three years, the Accra based producer, DJ and songwriter Gafacci had been circulating around the term ,Low Fidelity' and he dedicates this album to all those across the globe who can relate and support the music.
The Title ,TASH BNM', meaning ,Tash bought new music' is inspired by the notifications of a music connoisseur's weekly purchases on bandcamp.

Noteworthy are also the featured artists, from multi instrumentalist Nii Quaye to Chefbanku, singer Amaarae, Ghana Music's OG Kyekyeku and rappers Tinuke & Lazee, each guest complements to this timeless piece of music in their own unique way.

Here comes another sucker punch to the gut via the American underground. These five DJ-ready mutant acid cuts will have you leaping out of your skin, crawling along the floor, begging for a drop of water.

Calling Marcelle a DJ doesn’t wholly represent what she’s doing. (Three) turntables and a mixer is more the medium that she uses to create and share sounds, ideas and moments.

The same goes for her own productions. They don't have a fixed style, as can be heard on all five EP's released by the Munich label Jahmoni since 2016. They are free in attitude and music and cross boundaries between genres. Most tracks are a collision of ideas, a magically gritty, self-aware car crash as if Muslimgauze grew up in sunny Lisbon with the Principe crew as opposed to the grim North of England.

On her new LP 'One Place For The First Time' we find nine tracks brimming with ideas that ignore stale production norms. Sure, the pulsing drum 'n' bass-esque 'Hippies Use Side Door' is weirdly danceable, just like the cackling stomp of 'Respect Caged Animals', but can we dance to 'Technicians And Their Smoke Machines'? (Answer: We’d certainly enjoy trying). It's almost a jazz song, but like with everything Marcelle does, it's jazz from a different world and has proven to be a dancefloor smash when she’s played out the dubplate over recent months.

Marcelle's life-long love for far-out dub is clear in 'Dub (Dub)' and 'Respect My Snack Foods' is in the same 'educational' tradition as was the song about how to deal with constipation (olive oil!) from the 2018 'Psalm Tree' EP. Now we learn how to apologise. 'The Mother Of All Messes' (a UK newspaper headline about Brexit) introduces perhaps a more tender side, a comforting nursery rhyme plays while a muffled kick occasionally growls with distortion - as if it knows the importance of its place in the dance.

By the time the refrain of the intro track returns it seems to carry more significance, Marcelle has made her point quite clear. Defiant til the end… ‘Don’t touch the table!’ This particular sample is taken from Marcelle's legendary Boiler Room performance at 2018's Nyege Nyege Festival in Uganda where the MC of the event repeatedly declares that 'She Plays Vinyl' and therefore asks 'Don't Touch The Table!'. It goes without saying that the latter song is full of banging on the table noises.

The sleeve - as always with Marcelle - is very colourful and features photos of knitted egg cosies and images related to individual songs. It's a bit of a puzzle to find out which photo connects to which song, an enjoyable challenge, just like the LP itself.

Shining on lineups whether they’re cutting edge festivals, big clubs, touring circus shows or DIY garage venues comes naturally given she approaches all with the same mindset ('always the same, always different'), these causes are adopting her rather than the other way round.

Marcelle is a genuine innovator who remains inherently relevant by not following trends, not focusing on technicalities, having a sense of humour, dissolving obsolete structures, being excited, defying others rules while creating new ones, eschewing #tagline posers and ‘tasteless A&R wankers’, supporting artists that need it, supporting places that need it, supporting people who need it and not giving a fuck for as long as possible.

And HUGELY welcome living proof that you can excel in doing things differently and having a bloody good time n all.

James Marrs, London, March 2019

Legendary DJ's Hans Nieswandt and Eric D. Clark team up and boldly declare: let there be protest disco. And here it is: „Work Work Work” and „No More Hatin’ & Trashin’“, with original versions by the two Whirlpool Productions heads, plus hot remixes by Marcel Vogel and Phonk D. Four tracks of positive power for the people!

Mario Pierro aka Raiders of the Lost ARP (ROTLA) returns to Edizioni Mondo. “Trasmissioni” is his debut LP under this moniker, using fictitious TV show themes as an excuse to create his musically most eclectic record so far. Departing slightly from the Balearic and prog rock influences of the previous “Laguna” EP, in “Trasmissioni” ROTLA covers many territories: opening with the science-celebrating arpeggios of “Progressi della Scienza” (Italian for “advances in science”), to the funky, off-beat grooves of “Telemusic”, then taking a step into a disco during “Nightlife”, before programming his rocket towards eerie nordic drum machines and Hammond organs in “Esterno Neve” and “Effetto Notte”, and many planets more. A welcome edition to the ever expanding Edition Mondo universe and a record you can’t grow tired of. Eco-Friendly green artwork that shows how tiny we all are. Good listening!



The name MONDO has its roots in “MONDO MOVIES", an italian movie genre born in the 60’s. Mondo movies are characterized by documentary-like content that addresses several topics from around the world ("mondo"). The Mondo label has the goal to produce music that is descriptive of concepts, images and environments. Mondo is inspired by library music, a genre frequently used as theme or background music in radio, film and television in that very same period. Production music libraries typically offer a broad range of musical styles and genres describing everything ranging from deserts to war and sports. Library music composers and session performers had no constraint at all. They typically work anonymously, have rarely become known outside their professional circle and they have produced what probably is the most creative music catalogue ever. The Mondo productions start with four releases dedicated to seascapes; scenarios range from sea fauna to poaching, from natural parks to sea dunes.

Irie Mona goes for a Dub adventure on Mystery Booms ! An already two classic tunes EP in town. He’s a producer based in Lyon since a decade and he perfectly knows how to inject new digi-attitude in the old-school way of dub productions. A perfect ballad for some delicate sunbath. Two songs to sing onnnn! Its a tribute to Dub Masters Tubby and Pablo, delivering Sunshine Skanks, Spring Beats and Sisters and Brothers Love for the Summer.

Early Support : Judaah (BFDM), Tarba (BFDM), The Pilotwings (BFDM), Sacha Mambo (Macadam Mambo), Leo James (Berceuse Héroïque), Nummer, Chez Emile Crew, NVST, Folklore Crew, Groovedge, Emeline XIII (Sumo Smash), Warzou (Jump, Nous Disques), Eddy Larkin…

Tekvision Volume 1 was a stone cold classic, with Rolling Stone charting it at #3 in their top 20 EDM records of 2017. Two years on, Cornelius ‘Traxman’ Ferguson returns with the second instalment, featuring 7 exceptional new Footwork productions. Traxman is a bonafide OG, with a discography dating back to the halcyon era of Ghetto House in the late 80’s and early 90’s. 30 years on, Traxman is a revered figure in Chicago’s urban music scene, having presided over the evolution from Ghetto House to Juke and from Juke to Footwork culture. Originally released in 1989, Work Dat Mutha Fucker by Steven Poindexter is considered to be one of the most influential tracks from the early days of Ghetto House. Traxman remixes it brilliantly on this release, reworking the stripped back, minimalist drum beat of the original into an upfront Footwork pattern. This sense of continuity is equally evident on Let Me See You Naked feat. DJ Juicy, and Traxman’s remix of To Da Hoooz by DJ Deeon. These productions successfully capture the sexual energy and exuberance of Ghetto House, turbo charged at 160 BPM. Elsewhere on the record, Traxman explores different moods whilst always keeping the dance floor firmly in mind. The opening track It’s Lasting Bass lays an infectious vocal harmony over complex drum patterns and a fearsome bassline. Osaka opens with mellow, sultry keys before introducing a wobbling synth and diced up Orchestal samples. 4 Da Lyfe is a soulful and slightly more meditative track, with a vocal loop expressing solidarity and self-affirmation. Wildcard feat. Jana Rush, stands alone as the only track without a vocal element, instead utilising a piercing and insistent synth to create a powerful sonic intensity. Overall this is triumphant record, and a worthy successor to the original Tekvision release, proving once again that Traxman is an unrivalled exponent of MPC-driven footwork energy.

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

Simic returns to secondnature with a new four track EP of exuberant house and techno. A collection of inspired original productions, Atwater Dance continues to explore the hallmarks of Simic’s musical world: rollicking grooves, loose melodies, psychedelic effects, and the occasional vocoder..!

JK Flesh is the electronics-only project of Justin K. Broadrick
(Godflesh, Techno Animal, Zonal, The Blood of Heroes). He is a
absolute master of high quality, prolific electronic composition, and has
released JK Flesh on Downwards Records, Hydra Head, and Hospital
Productions. Submerged is the leader and founder of Ohm Resistance.
DJing internationally for 20 years, he has pioneered the sounds of hard
drum & bass and played in the furthest reaches of the globe.
Blacktacular is one of Portland’s most prominent MCs and promoters of
electronic music, dropping articulate, inspiring rhymes over every
Pacific Northwest drum & bass event spanning the last two decades.
Limited Edition Print by Pascuale Belvito

Georgian artist Sophia Saze releases her debut two-part album 'Self' on Francis Harris' Kingdoms imprint, with part one dropping on cassette this June. "The record embodies my story of duality within the context of identity, insomuch as the idea that every person has a deeper layer we don't show on the surface."
Born in Tbilisi, Sophia Saze is the daughter of political refugees who's spent her life living in numerous different countries before eventually finding home in Brooklyn. Finding it difficult to find her own identity due to living a nomadic lifestyle, the classically trained musician became entangled with electronic music before becoming a key player within New York's nightlife scene and launching her Dusk & Haze imprint in 2017.
A reflection of her struggles throughout life, 'Self' is very much a memoir of the many different places she's lived during her journey, including Georgia, Russia, USA, France and Canada. Contrasting to her recent productions, which are geared more towards the dancefloor, her debut longplayer is downtempo and features a medley of musical influences - mixed in two parts and released as a concept album on cassette. Maintaining a sonically raw feel throughout, 'Self' draws the analogy of analog to modern day digital culture whilst also taking a stance against perfection, whether integrating the distance crackle of her machines or intentional off-beat piano notes in minor. Part One was conceived, for the most part, during a sleepless yet inspired 48-hour studio session. Processed field recordings accompany samples from her childhood, such as soviet cartoons and intimate VHS recordings of her family. The result is a well-seasoned and personal story portrayed in fourteen tracks mixed together.
"I feel the element of patience is somewhat of a lost commodity in our generation, particularly for albums. We're consumed by track to track interpretations and constantly searching for the next instant stimulation. With this record, I wanted to reiterate the idea that if you don't have the willingness to sit through the whole thing, then you're not stepping into it with the right mindset to begin with."
Every artist who collaborated on the record is handpicked, such as vocalist Ricardo Rivera. The final production was also mixed by Francis Harris himself. All of their involvement means they share a fragment of the concept.

Some new and some old here from Bogwoppa. A couple of original 1992/93 tracks alongside a couple of fresh steamers from Secret Squirrel. This release came out as a "digital only" release a few months ago and we had a load of requests for a vinyl release.... so here it is! More new productions from Secret Squirrel coming up in the future!

Santa Fe, New Mexico based artist Maggie Thornton a.k.a. Sky Civilian joins Atomnation and releases debut EP “Open Door” on the 14th of June, 2019. The productions from Sky Civilian evoke a lust for the future and the far-away, but she grounds this lofty mood in familiar territory, with nostalgic, detuned synth instrumentation and four-on-the-floor percussion. Her weightless, almost-whispered vocals capture a hyper-natural feeling. The overall lyrical message is one of raw sincerity, as listeners confront unmistakable themes of loss and longing. Strange yet playful vocal production techniques grant the work a subtle pop tilt.

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

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

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

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

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

Juan Ramos and Trent AKA Greenvision are back for pENE d'Amore part 2, a collaborative release between Berlin's Cocktail d'Amore Music and Ene Tokyo. This precious 12" follows Rambutan, the duo's offering to Los Angeles' ESP Institute. The cover is made by visual artist Giulia Munari and reminds of the melting pattern of a Murano glass, referencing indeed the abundance the listener is soon to discover putting the needle on this record. A multitude of acid lines tinged with a touch of trance and a carefree melody roll over an almost off-beat groove in Mountain of Madness, taking over A side. On the flip, the didgeridoo-based Rolling2joints takes the listener exploring a mystical forest on a distant planet. Again disorienting, psychedelic and explosive, Greenvsion's productions sound like riddles to be solved, puzzles to be composed. Their unique sonic layering philosophy results in an almost unclassifiable music genre ready to please the thirstier dance-floors.

German producers Shuko and The Breed announce joint Westcoast Album "Dippin'"

The collaboration between producers Shuko and The Breed was love at first sight. Thanks to their preference for classic Westcoast sound, they immediately found a common denominator and harmonized excellently during the production. The result is the album "Dippin'", based on the song with the same name by Westcoast legend King Tee, who besides MC Eiht and Benny Sings is also the only rap feature on the instrumental hiphop album. After the song "Life in Los Angeles" with the Westcoast legends, the tune "Cali Sunshine" has officially announced the joint record of the producers, which is available on black gold in addition to the digital release at June 5.

The Breed and Shuko can already look back on a number of prominent productions in Germany and the world. The Breed was mainly responsible for the style-defining sound of Alles or Nix Records and is now mainly the house producer of Plusmacher, but has also built beats for famous German rappers like Olexesh, Haftbefehl or Marteria. Shuko is known in Germany as a producer for Casper, Cro, Farid Bang or Kollegah. Internationally he could already place beats on releases of Cypress Hill, Evidence, The Clipse, Lil Wayne or Nipsey Hussle. But besides their productions for rappers and singers they have always concentrated on their solo careers. Both are very successful in the field of instrumental HipHop and can boast impressive figures in the millions on Spotify. But what unites the two is their love for the Westcoast sound of the 90s. Therefore, they have now joined forces for a project on which they pay homage to classical G-funk, but also create a new modern version of this genre. This album is a tribute to the city of angels and its style-defining sound. The instrumental bangers fit perfectly into the summer and are the perfect soundtrack for sun, beer and BBQ.

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

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

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

Following on from big recent releases from Neue Grafik & Oliver Night, CoOp Presents Sivey, with an all-new double-header of heat, 'Nobody Else' and 'Somebody Samebody'.

For those that don't know, Manchester-based Sivey became a player in the future beats scene a couple years back, releasing music with the LA-based collective Soulection, as a solo artist and via collaborations with Evil Needle, which came to fruition after a series of online beat battles, as well as releases and remixes with labels like Astral Black and Ninja Tune.

His last wave of output was greeted with enthusiasm by fans of soulful beats championed by artist collectives such as HW&W and Darker Than Wax, and saw Sivey subsequently spinning at events across the UK, and perform shows as far afield as Los Angeles and Tokyo.

Rooted in hip hop production, Sivey's largely instrumental tracks have brought together elements of millennial R&B, neo-soul, UK garage, jazz and 80s funk. In the few years since his previous releases, Sivey has continued to experiment with new ways of exploiting his diverse influences in his productions. As his listening habits became increasingly orientated around jazz and obscure 70s fusion records, his own productions began to reflect the shift.

The recent resurgence of the broken beat movement was something that also inspired him, admiring the balance between musicality and danceability of the genre. He made his first experiments with bruk in 2017 and found that it mixed perfectly with what he'd already been creating. Eager to share the results with the world, it made perfect sense for his first offerings of this ilk to find a home here with us at CoOp Presents.

These two tracks exemplify the ever-evolving progression of Sivey's sonics; the familiar deep keys and synth sounds of his previous productions are there, but nestled alongside more uptempo grooves, and the lush rhythmic complexity of bruk. Tied in with his love for jazz fusion, 'Somebody Samebody' sees Sivey reinterpret a late 70's track by Japanese guitarist, Kazumi Watanabe; this one also enlisting the help of Trian Kayhatu on keys. As well as the original tracks, prolific Selectors Assemble crew member Danvers adds in his own tasty heads-down version of 'Nobody Else', and label co-founder IG Culture (who recently received a Worldwide Award for 'lifetime achievement'!) provides a dope bruk-funk flip of 'Somebody Samebody' to close out the set.

This the first release of this newly formed label, product of the studio collaboration between the experienced music duo.

A1 holds a special place since it was one of their first productions, defining their sound and workflow in the studio. Driving energy, crispy drum sounds and well crafted pads make this one a perfect track for the early morning hours. B1 is one of these tracks that stay glued in your mind and you can't stop humming their melody. Evolving basslines, forceful kick drums and an elegant lead make 'Backup' one to remember. B2 is showcasing the duos attention to detail when it comes to minimalism in music making. Few elements arranged in a way that make the track progress flawlessly to a proper mind bending groove.

Focus and hard work ethic are the key elements of this collaboration. During endless studio sessions the duo has defined their characteristic sound and more material will be coming out soon. Staying quiet. Working hard. Together

Yo Falty why don't you do the old school shuffle anymore What happened, maaaaan OK, held this one back from 2011. All the garage and 2-step workouts I made were inspired by hours and hours of listening to Horsepower Productions, Zed Bias, El-B, Darqwan... I studied them. This tune in particular inspired by Benny Ill himself. Ill Bent was never released, I always held back some exclusives for my sets. No one had it. Benny Ill remixed the track in fine style, both Straight up and with a Fat Larry spin. We were talking, Benny and I, and he mentioned he used to live in Brooklyn. So he submitted Is It Safe, a tune he made while living not far from where I live now in NYC, to conclude the EP. Heavy! (note, the first letter in Benny's last name is a capitol 'i') Track A1 produced by FaltyDL

The story of TodoTodo is one of the most incomprehensible and surprising in the history of Spanish electronic music. Without doubt it is, sadly, also one of the most ephemeral. The curse that has haunted them since their forming in 1980 and during their short year and half of life is already legendary. Domestica Records did justice to the group in 2012 with a comprehensive compilation and this EP joins this initial tribute as it reimagines some of these trailblazers most representative productions: Digital Dancer and Autoga´s.
Almost forty years later, Frigio is bringing some of their music to a fresh audience. Juanpablo with his extended edit of 'Digital Dancer.' A steady kick tethers a tripping mechanical melody, a melody that bubbles and simmers as toms, horns and daring funk collide for this seven minute odyssey into the world of Iberian underground synth. The original version from 81 closes the A, a brief and brilliant piece of proto-techno. The flip is introduced by Catalan Dj, journalist and author of ¡Bacalao! Historia Oral de la Mu´sica de Baile en Valencia, Luis Costa. Costa re-imagines 'Autogas' with his Tool Edit, reshaping the off-kilter keys and future highways and byways of the original. The finale is a true treasure from the annals of time. A live version of 'Autogas' from the legendary Rock'Ola club in Madrid, an unreleased work that is as audacious and bold as it was when it was first performed in 1981.

An LP of tracks, taken from various cassette releases, by Belgian synthwave luminaries The Misz (Jan Van den Broeke and Dries Dekocker)! 600 copies on 180 grams vinyl.

The Misz formed in Gent in 1983 by Jan Van den Broeke and Dries Dekocker at a time when they had both just relocated from the country. They lived on the same street and collaborated freely with the limited equipment they had, which always centered around the Fostex 250 4-track tape recorder. They used an unknown monophonic synthesizer, casio synths, roland drum machines, hand drums and guitars through effects pedals, improvising with their voices and often and included friends for additional voices and sounds. They captured these sonic experiments and sometimes released them on cassette in editions of 100-200. They were also included on numerous cassette compilations throughout the 1980s on labels like Mad In Belgium, The Cassette Factory, 3RIO Tapes, Minimart production, Fraction Studio, Cauchy Productions, Home Product, R.R. products, ZNS Tapes, and Body Records. They described themselves as young, immature and bit strange yet totally bold and fearless. They sang about what surrounded them from world politics and environmental catastrophes to love and lust. The songs on The Lonely Crowd span from various cassette releases and have been remastered from their original reel to reel tapes.

There are few people across the globe, who will have not been touched by the work of Frankie Knuckles. Forever regarded as ‘The Godfather of House’ for his unrivalled contribution to the house music we know today; what started as an underground movement in Chicago has grown to international heights thanks to Frankie. His records earned him recognition on a global scale, allowing him to work with some of the globes biggest names including the likes of Diana Ross, Whitney Houston and Michael Jackson.

Five years ago, Frankie passed away in Chicago on 31st March 2014 leaving behind one of the greatest house music legacies spanning almost four decades. Now he is commemorated by long time writing and production partner Eric Kupper. Eric, himself a seasoned DJ producer and writer, has worked on over 116 Billboard #1 Dance Records and played a pivotal role in a many of Frankie’s productions. Having both worked together for many years they established themselves at ‘Director’s Cut’ from 2011 and set about producing original releases and remixes based on the classic ‘Def Mix’ sound while sharing equal credits for their creations.

Together they re-produced and re-purpose classic cuts for modern dancefloors, with reworks including tracks from Marshall Jefferson, Ashford & Simpson, Artful & Ridney and The Sunburst Band, alongside Frankie Knuckles originals. These releases have now been brought together by Eric to feature on special album called ‘The Directors Cut Collection’ on SoSure Music. It includes the Director’s Cut reworks of Frankie’s classic cuts such as ‘Your Love’ and ‘Take You There’ with Jamie Principle, alongside Frankie’s first #1 single - ‘The Whistle Song’ on which Eric shares writing credits.

Within a multitude of classic reworks, highlights include a previously unreleased version of Ashford & Simpson’s ‘Bourgie Bourgie’ and a huge Director’s Cut Retro Signature mix of Marshall Jefferson’s 'The House Music Anthem (Move Your Body)' featuring Curtis McClain.

The Director’s Cut Collection is a fitting tribute to commemorate the fifth anniversary of Frankie’s passing whilst giving Eric a platform to tell his side of the creative story. This album is to be released in collaboration with The Frankie Knuckles Foundation who work to continuing Frankie’s legacy well into the future.

Matthew Puffett, also known as Future Beat Alliance, launches a series of EPs on his new ‘Reward System’ imprint. The new label will explore and dive deep into the mind of Matthew Puffett’s eclectic and unpredictable musical archives. Showcasing everything from lost and found DAT tapes from the FBA vault to brand new productions. Releasing his music on labels such as Delsin, Tresor, Eevo Lute and Rush Hour before now, here you will hear his recognizable style with warm synths, uplifting bass heavy grooves and dusty break beat rhythms once more. The six track ‘Reward System.1′ EP features all of this and more and is another exciting chapter in the Future Beat Alliance catalogue.

Repress

Mr. G presents a record by one of his close allies; John Swing. Jazz Perceptions EP is a rhythm oriented record that showcases top notch productions, inventive sample selection and late night dance floor jams.

Spencer Parker invites Swedish artist Billie Jo to Work Them Records with five driving techno cuts entitled 'The Ravenous' EP featuring a remix from Me Me Me boss Man Power.

Hailing from Stockholm, Billie Jo is a founding member of the .WAV collective and resident DJ at Gothenburg's Rottweiler when not performing at clubs like Tresor. She now joins Work Them Records, bringing an array of robust productions with her.

With its pounding drums and ghostly vocals, 'Erroneous' quickly sets the tone of the release, leading into 'Saturn' with its glassy textures and echoing effects. 'Ravenous' then takes us into murkier territories, generating a duskier aesthetic with its twisted sounds before British producer Man Power provides a vigorous reinterpretation under his newly minted MPX moniker, which focuses on raw club tracks, featuring hard stabs and acid licks.

With its saw-like lead and trippy atmospherics, 'Dir Vsseu' sounds like being pulled through a vortex, making way for the powerful 'Planet 9' which concludes the package with metallic elements and subtle pads.

The Juan Maclean Returns To Dfa With A New 12" - Last June's Electrodisco "what Do You Feel Free About" Backed With "zone Non Linear,"
Which Evokes Early Pet Shop Boys. As Usual, Juan's Sunny Productions
And Nancy's Layered Vocals Come Together To Lend A Maximalist Warmth
To The Dancefloor. Man Power (esp Institute, Correspondant) Gives The Aside A Club Rework With A Dubbed Out Vocal Arrangement That Adds A
Touch More Drama To The Track, While Massimiliano Pagliara (ostgut Ton,
Robert Johnson) Revitalizes Tropes Of Old-school Piano House.

WYLLOWE is Anna Sheard and Rory More – a nascent writing duo with a shared enjoyment of all things folky and groovy (think early '70s Sergio Mendes, '60s sunshine pop and modal jazz versions of Scarborough Fair). The new 7-inch release Fortunate Fool is a rolling and loping affair with a lilting melody accompanied by a chiming 12-string Fender, electric piano and Lowrey organ; its soaring lament and understated groove is an open-road elbows-in-the-wind driving song.

The B side, Berwick Street Blue, brings to the fore Anna's alluring lyricism and Rory's oscillant motifs calling to mind the compositions of continental soundtrack composers and the sonorous femme-fronted productions of the late 1960s. Lush choral harmonies, layered guitars and resonant piano and organ ebb and flow over a soulfully intoned lyrical paean to a part of London lost and changed forever.

2023 Repress

A heaven-made match is now complete with Gerry Read's debut EP for Pampa Records. The British producer's distinctively twisted, lo-fi sound, combined with Pampa's deep-vein instinct for quality quirks, ushers in a new phase for two of house music's most celebrated names. The opening bars of 'It'll All Be Over' are immediately evocative, hinting at the patchwork style to come. Twangy banjo strings and a foot-stomp beat seem to herald a folksy arrangement, but that isn't to be. Soft floaty pads rise up to form an unlikely partnership, softening sharp edges and adding sophisticated melodic expression. Once a compressed vocal sample is introduced, the entire structure reveals itself and begins to spin and loop in the style of iconic French house productions. Propelled further along by the endearing drama of flooded bass drum kicks, falsetto voices and xylophone pings, 'It'll All Be Over' is immediately memorable and expertly architectured. Read's second cut, 'Satyricon,' is woven in the spirit of micro-house. Sharp waveform cuts, timely pauses, loops of noodling keys and hints of percussion shakers combine for a low-slung psychedelic effect. With the sunniness of a vintage folk-pop sample and sultry snatches of Spanish dialogue added atop a deep mid-tempo shuffle, Read secures his place alongside the Bradocks and Leclairs who came before him. On the flipside, Pampa's figurehead takes an expert turn at the controls of 'It'll All Be Over (DJ Koze remix).' The original's jagged edges are buffed out, and shined up into a gleaming disco house anthem. With its artfully timed strumming breakdowns and cowbell accents, it is an appetising teaser of the forthcoming summer.

Infuse welcomes Pierre Codarin with an excellent three track release, ‘Pork Chop Express’, featuring a great KOKO remix to boot!

Pierre has been bubbling on the underground surface for few years now, releasing material on respected labels such as Adult Only, LAATE, Tervisio and his self-titled label was launched at the beginning of 2016 and has seen heady plays from the industries peers with each release granting praise from the media, DJ’s and collectors. Pierre brings a very raw and rich sound in both his productions and Performance with a very in-depth knowledge of record selection leaning towards a nostalgic U.S. and U.K. influence.

The title track ‘Pork Chop Express’ is a driving, rib-rattling, pad-infused, triumph of a track causing quite a stir on the floor. On the flip and ‘Lo Pan’ jacks the tempo and gets rough as Pierre drops a smorgasbord of key fills and stabs to keep this beast a grooving! Finally, following on from their brilliant ‘Generation K’ EP on Infuse early this year, KOKO deliver a blistering dance-floor led remix of ‘Pork Chop Express’, perfectly rounding off this great package.

First up on the new series is Roll Dann, an artist who has paved his way successfully with releases on Soma , Modularz and Pole Group.

This EP gives the artist a chance to showcase his harder side to his productions.

Is another EP from D.K. about to land on Antinote while the first one has been announced only a month ago
Well, this looks very much like a series and - spoiler alert - Riding For A Fall EP is the second installment in a
trilogy.

With a BPM crossing the 120 line on 2 out of 3 tracks, there's little doubt that this second 12' is also meant to be
played in a club environment. The 9:37 min long Voices sprawls over the whole A-side. Like many productions
stamped 'D.K.', the structure is linear only in appearance: it winds up and down between fantasized exotic
landscapes, digital plug-ins mimicking 'far east' instruments that are barely recognizable. It gets even snakier with
the Samurai Showdown-inspired Shoubuari (Battle): pixel swords brushing past our ears, martial drumming and
menacing synths (D.K., were you the kind of kid who owned a Neo Geo) - it's pretty obvious that we're in the
world of SNK's legendary fighting game.
Things calm down with Riding For A Fall: less button-mashing, more concentration as we're witnessing the sacred
martial art known as Street Fighter's quarter circles... But enough with these video game metaphors! No need to
be a pro-gamer to enjoy this piece of music. It's sad & slow house music with a cinematographic quality - and,
perhaps, the most moving moment in this series of 12'.
To be continued...

Blue Veil, AKA Danny Clancy, serves up four mesmerising productions for his Dichotomy label's fifth release.

Having already showcased stunning releases from Mary Yalex and Ahu, Blue Veil continues to shape the sound and aesthetics of this burgeoning label with the 'Dreaming In Colour' EP.

Choral pads breeze over an uncluttered rhythm on the stunning 'I Can't Go On. I'll Go On', whilst 'Small Prophecies' drifts over forlorn piano chords and an almost tropical rhythm pattern.

A brooding and dusty breakbeat heralds 'Another Day', switching up the EPs tempo for a slower jam, but still bathed in blankets of soulful tones, whilst 'I Don't Want to Die in Dalston' is another emotive composition filled with deft musical refrains and big, panoramic melodies.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

After a gap of a few years in between his latest releases (on Terminal M among others) Mar io focuses his attention on his own productions rather than sticking to remixes. He unveils a wonderful EP on Form & Terra Records which kicks off with the title track "Through The Night", a very special acid house smasher which will put every dance floor to a test. Then comes Max Cavalerra who puts the track through some secret alchemical processing and turns it into a dark and more techno-driven tune which is sure to make mind and body move even at 6 am in the morning. In addition, techno legend Patrick Lindsey celebrates his brilliant vinyl comeback with an irresistibly grooving remix which demands your attention with unprecedented drive and gets to the heart of Mar io´s original message "This Is What We're Living For". Last but not least, Mar io himself tops off this extraordinarily versatile EP with a grooving vinyl-only remix.

After the storming success of Take It To Church Volume 1, Midnight Riot step up for another sermon casting a divine light onto the dancefloor to showcase a new era of Gospel - Disco & House.

The emphasis here is on sublime feel-good productions and peaktime workouts from the past and present harnessing that divine spirit of gospel and packing it into club giants. Prepare for a midnight mass of gems from The Showfa, Yam Who, Stephen King and Sweet Jubilees and take the power to the dancefloor.

Buffered Multiple is the techno A/V project of Vienna electro poster boys Microthol. Buffered Multiple return to Pomelo after their debut on our 20 yrs compilation and subsequent EPs on other imprints. “Buffer 05” starts off with “Prime Time” in super-saturated dub techno mode, its sublimely textured chords ambling hypnotically over a tense and pounding beat. “Shitty Track” changes gears into jack mode, with a bleepy morphing swing hook that drives up the intensity over a percussive beat and takes all the right cues from Chicago’s second wave productions. “Junolized” delves deep into the abyss again, its expansive echoes weaving intricate layers of dub over a foundation of bottomless bass.

* Dom & Roland Productions, the label, has gone from strength to strength since its conception in 2006.
It Features Dom's new solo work and his collaborations with other visionary artists such as Noisia, Hive and Amon
Tobin. The label has continued to push sonic boundaries whilst staying true to it's ethos of 'not selling out'.

* BEACH BUM - DOM & ROLAND

There's someone on the beach playing a catchy picked out guitar riff. The waves are lapping. A surfer walks along the beach carrying their surfboard, their hair is blowing in the wind. They are thinking about how powerful and awesome the ocean is in it's contrast to the serene and quiet sunset beach, They like the guitar a lot!

* DRED SOUND - DOM & ROLAND

Big Sound! In a large warehouse in Kingston Jamaica, a kid turns up with his laptop and a keyboard full of playable samples. The kid's twisted some funk era breakbeats into gigantic proportions and is trying out song structure ideas whilst listening back on the the huge sub bass system. There are a lot of people sitting around, everyone stops to listen, they never heard anything like this. It's raw, and powerful, and they like it!

Mysterious talent Clouds Of Kouros returns to their self-titled imprint to deliver the second EP on the
label this March, with three fresh cuts making up their 'Houghton Time' EP.

The enigmatic Clouds Of Kouros guise first surfaced in November of 2018, with the debut 'Reason's Why' EP picking up a slew of support from Secretsundaze through to Laurent Garnier and more.

Heavily influenced by the early UK rave scene, the project looks set to highlight key early inspirations from within the electronic sphere whilst keeping the focus solely on the music and not the artist behind the project across with each release on the imprint. The latest installment, the 'Houghton Time' EP, was written out of frustration after missing last year's edition of the festival through a last-minute transportation cancellation and in-turn returning to the studio to channel this frustration into a handful new productions. The result is an impressive fresh three tracker that takes cues from breaks through to deep house and beyond set for release on vinyl only this March.

Title cut 'Houghton Time' opens the package with authority as slick breakbeat arrangements combine with menacing basslines and infectious vocal hooks, before 'Diego's Groove' takes things deeper as dubby chords and bright melodies work in tandem. Last up, 'Hide2' completes the EP in style as the focus shifted towards punchy drum licks, resonant stabs and eerie melodies throughout.

BT33 drags back Marco Bernardi for his 3rd solo EP on brokntoys.Plat + Form P.F. finds Marco run ragged through time, revisiting his sleeper-project Octogen's lost 3rd (!) album alongside his latest productions Cruising the dystopia, the EP moves through unnerving melodies hung against stuttering rhythms.
Handstamped and with screenprinted sleeve.

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

Laid back and chilled out, Andrew never lets anything or anyone bother him. He has an air of mystique about him which others often envy.

(Andrea Solitario) ANDREW SOUL Andrew from his real name, Soul as the part where his inspiration come from, is a native italian producer born in 1986.

Music has been the first and everlasting love for this guy who soon came into his city's underground scene: he was 15 years old when he walked into a club for the first time. Then everything came by itself: a fusion of house and techno, the passion for the acidized sounds filled his mind and his heart.

But listening wasn't enough: the love for the music was to much for not to create something.

So Andrew started a path made by wicked grooves, dropping acid synths and emotional vibes, huge baseline, soulfoul vocals, roland tr-707 on the drums: these featuring characterize at best Andrew's sound.
The love for the analog sound push him over the years to purchase some vintage drum machine and keyboards, to make his sound as better as he can, and to add to his sound some cool old flavour.

Having DJd for years in his native Italy, Andrew turned his hand to production a few years back and promptly set about making some of the most emotive and engaging analogue house and techno around.

Vinyl collector, record lover, for him there's nothing better than watching a wax riding a turntable and listen the music that come from it.
As an eclectic artist, in his sets, Andrew likes to mix from deep to techno, through the house, but people never know what to expect from his large underground music knowledge; old, classic, brand new tunes and own productions makes his set really sophisticated and different each time.

After working on music collaborations for several years, with some friends , early 2011 was time to start sharing solo productions with his first release on Paulatine Records, wellknowed Uner's label. 4 tracks that take attention of many wellknowed djs, like X-Press2 that played the tracks at MOS and on their radioshow, Adam Port who said "Finally something different..." and many others..
Then two vinyl release: first one on the great Barcelona based Kiara Records "Too Much Love Will Kill You", Julien Chaptal on remix, and second one on the New York based imprint Stranjjur Inc, on remix Kris Wadsworth and Baldo; "Close To You" placed 29th on RA Chart.
A great tune with the close friend Frank Naht alongside a remix for Fabio Monesi on friend's label Blackrose Records, and an EP on Espai Music to follow.
End of 2012 was good: EP come out on the Defected's sub label "Tenth Circle"
November 2012 was also time for releasing on Safari Numerique with David Labeji on remix, and the track "No Way" played by Richie Hawtin.
2013 full of work and innovation, with 2 remixes on italian Moan Rec for Meeph, and U.S. based Undulate Recordings for Frank Nath, a really deep EP on his new family Popcorn Records, and jacking mode on for the new release on Safari Numerique.
2014 starts with a vinyl only release on Popcorn Records Ltd, special collaboration with Peter JD and remixes from Amir Alexander and Franco Cinelli.

The path is long and Andrew's research is still long way to end...

Footjob is releasing its second various artists sampler called 'Footure Classics Vol.2'. The latest edition complies 5 tracks - traditionally genre-specific between house and disco. This time fresh names are presented besides the established suspects Sascha Ciminiera and Lukas Lehmann such as legendary Hans Nieswandt (Whirlpool Productions) as well as acclaimed DJ Friction from Benztown. Both debutants lend a helping foot in order to add two wonderful tunes. As if this would not be enough, the compilation is wrapped up with a very special trove from the archives of DJ Service.

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

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

Limited edition of 300.

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

It's easy to fall for a nostalgic approach to dance music, to cuddle oneself in the warm analogue sounds of late 1980's dance productions - especially with the heavy ongoing reissue trend going on. However, we have to stay focus: look out for contemporary sounds and means of production. Parisian producer Nathan Melja makes his debut on Antinote with an idiosyncratic three-tracker and our guess is that it sounds contemporary.

On the A-side: one tune: Deadrums. Both the name and the music speak for themselves. It's hard, it's efficient and at the same time, there's quite a lot going on, tiny bumps on the straightforward road to techno ecstasy. Nevertheless, Deadrums is a precise piece of machinery, an atmospheric banger, yes, but with deadly jaws made out of tempered steel to tear a dancefloor apart, piece-by-piece. On the B-side, Angels stands out as a perfect example of a song that has many dancefloor qualities but, like some of DJ Sprinkles' seminal recordings, turns out to be more of a late-night tale of urban wanderings on wet pavements (think Taxi Driver and its soundtrack by Bernard Hermann). Contemplative, melancholic and - let's say it - sad, its nagging melody can bring a little tear to the eyes of the most sensitive ones. Rounding up the 12' is Candy, a tune under the influence of bad boys like DJ Overdose, or Ghettotech legend DJ Assault - so that you can dry your tears.

It's Nathan Melja's first release on Antinote, but he's definitely not a newcomer. He's been around since Antinote exists, and we're glad to finally collaborate with him.

Dean Zepherin is truly a producer who has managed to find his lane and appeal.
Born and raised in London - a suitably eclectic city for a man of his musical persuasion - he is renowned for his consistently genre-pushing productions.
In other words, a perfect match for Local Talk, a label not afraid to go beyond the classic 4/4 sound and explore different styles within house music.

Opening track Blue Moon is an organic, warm and enveloping chunk of deep house bliss and there's no doubt that Dean loves his house served with with plenty of horns.
Next up is Flying High, a jazzy uptempo house cut smothered in expansive percussions, trading organ and trumpet solos over elastic synth lines.

Music that speaks to the senses

Stefan Smith has channeled an elevated reverence for process, texture and synth-extrapolation with the forthcoming release of his self-titled LP on the Sapiens imprint. A relative new-comer to the land of rapid fire releases and dance floor formulae, Smith is deeply steeped in the art of music creation, performance and theory.
As a graduate of Mills College's revered music department, Smith's prosaic understanding of music partially explains his migration to Sapiens, a label headquartered in Paris, France, which, under the direction of techno luminary, Agoria, has been expanding the realm of possibility for what a techno label can become. Collaborating with musicians, visual artists, film directors, shamans and sound designers, the young Sapiens platform releases may include political speeches, radio hits, dance floor tunes, sensorial or cognitive music or a gentle computer
virus'. Smith's LP contribution will definitely fall on the more delicious end of this spectrum, having woven a synth-lovers dream tapestry.

The nine tracks composing the album, Stefan Smith', draw the listener in on a river of oscillators, which push just past the banks of perceptible sound with with flawless production and loving sound treatment. The idea behind the album is very raw and organic. Stefan Smith focuses on atmosphere, mood, tones, and frequencies, rather than melodies. His productions are a response to the subliminal, and about feeling.
This album came together from a natural flow of working with computers and synthesisers, and also from the musical connection fostered Sebastien Devaud (Agoria). His approach to the album's production was to edit as little as possible, keeping the original feeling of chance and temporality intact. We can sense here Smith's intuition as sound designer, a role which has enabled him to work with artist Nicolas Becker and through this association further contribute work to the Philippe Parreno 'Anywhen' exhibition in Tate Modern Turbine Hall. The feedback
generated by studio experimentation gives birth to new ideas for aural shapes and textures. If one were only to lie back and identify the various wave forms, like butterflies and birds flittering through dappled sunlight, in each track's canopy of bountiful synth elements the mind's eye would dance with the steady intervals of Smith's real-time probe of his machinery, however, deep tracts of emotion and effortless grooves won't allow for a purely sensory listen. In the spirit of exploration, enjoy the ride.

The Second 2019 Release On Seilscheibenpfeiler Is Reserved For One Of The Most Unique Producers Of Our Times And Marks The Label's Most Experimental Moment Yet. Peder Mannerfelt's Discography Stretches Back More Than Ten Years To When He First Started Putting Out Techno Records As The Subliminal Kid. Amongst Other Things He Helped Producing Two Acclaimed Albums By Fellow Swedish Artists Fever Ray And Gained Recognition Under His Real Name, Especially In Recent Years With Releases For Numbers. Or Hinge Finger And Critically Acclaimed Albums Like - controlling Body (2016) Or - daily Routine (2018) On His Own Imprint.

Last Year Mannerfelt Contributed To Modeselektion Vol. 4, Now He's Back With A Set Of Four Tracks Following His Unique Strain Of Abstract Techno. - life Without Friction Is About Disruption As Well As Peculiar Moods And Rhythms, And Other Than Its Title May Suggest, There's A Lot Of Friction And Tenseness In These Tracks. The Title Cut And - un - Air Show Mannerfelt In Almost Straightforward Mode, Always Ensuring It Never Gets Boring Or Too Comfortable. - lucid In The Sky And - hold The Line Combine Mellow Sounds With Stabs Of Noise And Twisted Percussion. As Always, Peder Mannerfelt's Productions Remain Unpredictable, But Predictably Great.

It's safe to say that Detroit, a city steeped in economic, cultural and musical history, will soon weave its way into your soul should you spend any sustained time there. This rings all too true for Monty Luke. He has immersed himself in Detroit's scene since moving to the Motor City in 2008. His new eight track LP, released via Dogmatik, showcases the style of a new generation of Detroit producers carrying the beacon for a deep, Detroit sound that blends analogue weight and punchy drum programming together with masterful synth work and raw emotion.
Even at first glance the polarised artwork, an aerial map of Detroit, shows the more introspective nature of this Motor City ingrained release, with Luke purposefully steering away from writing club ready material. Introductory track 'City Lights' gives a first taste of this, combining swelling synths, dreamlike arps and crisp percussive hits. There's a real weight to the bass synth that compliments Abi B's soulful vocals all too well. 'Anton's Room' & 'Crime Wave' follow suit -the former with itslayered gritty bass, expansive stabs, glitchy bleeps and undulating arps and the latter creating a sonic swell between your ears manifested by a surging, panned arp, alongside sirens and punchy, gunshot like snares. Inspirations from Moodymann to Theo Parrish are clear to be seen in tracks like 'Move', taking a range of jazzy loops and samples and chopping them into a low slung, bouncing MPC laden jam.Progressing into the 2nd half of the album there's a transition from deep, Detroit house into harder hitting, electro territory. 'Willie Maze' with its killer drum programming, reverberating Rhodes and dynamic bass and 'Roja', combining emotive late-night chords and melancholic synth melodies, really honeinon that pensive, thought-provoking aesthetic. One of the highlights, 'Wasteland', is the best example of this transition -interlacing a commanding electro drum pattern with squelching, synth melodies and Serene Arena's introspective lyrics.
Then taking it full circle, closing track 'Block Is Hot (Black Hole Mix)' -co-produced by King Britt in Philadelphia (alongside City Lights, Crime Wave & Willie Maze), returns to the 4/4 path with a thumping party track, carrying through that raw nature emanating from the dark melodies and Monty's adlibbed vocals.
'Hard Work/ Not Hype' is a record flying the flag for those underground artists working tirelessly behind closed doors to produce material that's based on feeling, emotion and skill, rather than riding off the back of an inflated, socially constructed image. Monty Luke, as someone that follows that mantra, has been able toconstruct an album showcasing this, creating a real weight and depth to this release; it's raw, powerful and thought provoking, expertly capturing the soul of Detroit -the city that's had such a profound effect on him

DETROIT SWINDLE
Ouch that's HOT! Bring it on.
KRISTIAN RAEDLE/ INNERVISIONS
Yes please. Very nice.
AYBEE
Fanatastic Work Monty!!
ASHLEY BEEDLE
Thanks for sending over the Monty Luke album to listen too. It's a great
contemporary album with of course Detroit running through it's veins! It
really pulls you in and I think the arrangements and productions are great.
Fave tracks are City Lights, Roja, Willie Maze and Block Is Hot.
LAURENT GARNIER
Oh yes..This is so elegant and sexy. Love it Would love to play it
OSUNLADE
This one is a guilty pleasure vibe..hate that I love every song equally

Launched in 2018 with two first EPs, Broken District continues to explore alternative music styles with the third instalment of its VA series.

The label's territory here expands to Jazz & Soul-influenced electronic music landscapes, with productions from Turbojazz, Setwun, Leon Revol, Duktus and the label's co-founders Jus Jam and Momla.

Seb Zito is one of the essential pillars of the FUSE London crew and his productions always pack plenty of attitude. Drawing inspiration from rave records of the 90s, he returns to the label with The Source EP, a no nonsense two tracker.

The title track is razor sharp starting with a solid kick and a skippy pads before meandering through breakbeat at halftime. The One heads down a deeper road, but still pays homage to classic rave with a propulsive, low-slung bassline and soaring, dizzying pads remerging post-breakdown with a series of breakneck claps. Another great release from this great talent!

Acclaimed UK producer, Cella Records label operator, and swiftly aspiring talent Turner has already stirred up the scene with quality shells more than once with his own acclaimed productions, receiving air-play from venerated key figures such as Mala or Youngsta. Laying down the law for its first three releases, it's time to showcase his undoubtedly equally effective A&R skill - welcoming none other than the Rochdale-based artist duo BFM (Bloodklart Fiyah Mandem) to the label roster. Consisting of JFO and Sativa, their collaborative output cuts through the noise - support from the likes of Grime veteran Slimzee and physical releases via Glassy Records and Hooded Up. Now stepping back on the controls to set the new year ablaze in style, BFM delivers a total of four extensively weighty cuts for Cella's fourth vinyl release. As the needle picks up the records' first grooves, 'Magic Carpet' sets path on a ride into a distant and barren territory - at once being enamored by its contemplative atmosphere. Unraveling its dynamic interplay of sound and silence, the authentic old-school instrumentation and lavishly saturated low-frequency surges keep us coming back for more. Catching a swift breath, 'Niyaz' lures us into spheres of droning reverberations - phasing in and out amidst vigorous square-wave leads and meticulously crafted foley effects - conveying its story with full force on a minimal platter. No exception to the rule, 'Shade Riddim' conjures another isomere of their signature ambience - wailing voices, enigmatic strings leading the way through dimly lit, high-pressure alleys. Droning along as conclusive proof of this releases' unquestionable intensity, 'Limitless' wraps up the madness - delivering a fourth, flawlessly executed bass-weight meditation. Timeless music on a twelve-inch platter.

Limited to 500 on gold vinyl WW!! Over two decades later, KRS One's debut solo album Return of the Boom Bap finally gets the reissue it deserves. Pressed for the first time on gold vinyl, this double LP not only includes a bonus 7' of Kenny Parker remixes, but also features the first-ever colour sleeve on a U.S. pressing. Stripping away the intricate production of the final Boogie Down Productions album, Sex and Violence, Return of the Boom Bap saw the already iconoclastic rapper return to the bare bones, gritty territory of his landmark masterpiece Criminal Minded. KRS-One's delivery, burned with a reinvigorated fury, spits out his rhymes with pummeling cadences and world-wise intelligence. Although the record isn't as focused on social activism and political protest as the latter Boogie Down albums, KRS-One never made his lyrics simplistic, nor did he turn his back on what could now be called prescient social commentary. The combination of raw beats and emotion-driven rhymes made Return of the Boom Bap a genuine comeback for KRS-One, one of the founding figures of modern hip-hop.

International Deejay Gigolo Records welcomes Sousk with his new EP 'Live from Golgatha' The UK based musician presents three totally different and outstanding tracks on the release. The range of the music is floating through different time zones of the electronic music evolution. A warm and eclectic feeling combines the different productions to one coherent picture.

As humans living on the planet today, we have become so removed from our original, natural habitat—the forest—that we forget our wild roots, our primal, animal origins. Music is one of the things that can bring us back to that place, that can put us in contact with a felt world of instinct, immediacy, and presence: a world where language and the problem-solving mind are not needed, where the music keeps your mind and body in the present moment, and the point of dancing becomes the dance of our inner wildness and animality itself. Hans Berg's Sounds of the Forest Forgotten affirms that music can bring us to a state of mind and body that can help us feel what we've forgotten from the forest. The overlaying project of the album is to conjure musical and conceptual resonances between mysticism and nature, summoning the incredible depth and force of nature that we usually miss, especially living in contemporary urban cities. Sounds of the Forest Forgotten channels the creativity, playfulness, and freedom of a life both before and beyond ours through the sounds of analog and digital synthesizers, a modular system, drum machines, and computers. Recorded between Hans's studios in Berlin and on the Swedish countryside, the album similarly shuttles between contemplative and ecstatic, between delicate and powerful, mixing sublime psychedelic techno compositions like 'Emerald Sea' with acidic dance-floor bangers like 'Storm' and 'Milk Thistle,' all nestled between contemplative and textural ambient compositions like 'Butterfly' and 'Glow Worm.' Berg is known for his enthralling productions and energetic livesets that capture dance floors with his particular brand of hypnotic techno, replete with angular lines, affecting melodies, pulsating basslines, and big drums. He also produces atmospheric scores and ambient soundscapes to accompany the video art and installations of long-term collaborator and celebrated artist Nathalie Djurberg. Berg's live sets have found a home in nightclubs around the world, with recent gigs in Berlin, Stockholm, New York, Tokyo, and Melbourne, to name a few. In addition to 2MR, he has released his solo work on record labels including Ian Pooley's imprint Montage, Klasse Recordings, and The Vinyl Factory. His ongoing collaboration with fellow Swede Johanna Knutsson - as Knutsson/Berg - has led them to start the label UFO Station Recordings, on which they release their own material. The duo also has released on labels such as Idle Hands, Default Position, Kann, and Random Island.

Johnny Clarke & King Tubby & Dillinger & Prince Jazzbo feat. Tommy McCook & The legendary Aggrovators & The Mighty Diamonds - Soul Jazz Records presents Bunny Lee: Dreads Enter the Gates with Praise - The Mighty Striker Shoots the Hits!

Soul Jazz Records presents this new collection featuring the heavy 70s roots reggae of Bunny
Lee - a living legend, one of the last of the great Jamaican record producers who helped shape
and define reggae music in the 1970s from a small island sound into an internationally
successful musical genre.
From teenage fan to young record plugger for Duke Reid, Sir Coxsone and other early
pioneering Jamaican musical entrepreneurs, Lee has spent his whole professional life inside the
Kingston music industry. In the 1970s he rose up to become one of the major record producers
in Jamaica alongside Lee 'Scratch' Perry and the other 'small axe' producers who broke the
dominance of the 'big tree' producers that had ruled Jamaican music in the 1960s.
Featuring some of the heaviest Jamaican artists, including Johnny Clarke, King Tubby, Dillinger,
Prince Jazzbo, Tommy McCook, The legendary Aggrovators (featuring Sly and Robbie), The
Mighty Diamonds and more, the album is a rollercoaster ride of rare, deep and classic 1970s
roots, dub and DJ sounds.
During this era, 'flying cymbals', crashing reverbs, dark echoing thunderclap gunshots and
other 'implements of sound' filled his record productions as Bunny Lee explored the outer limits
of dub with his friend King Tubby in the mix on wild versions that accompanied any 45. A
Bunny Lee record provides a creative and mysterious hidden guide to reggae music itself, a
double-sided three-minute intangible history lesson etched in wax.
Bunny Lee was one of the first Jamaican producers to travel to England in the late 1960s, at
the beginning of the nascent British reggae music industry as record companies such as
Trojan, Pama and others began licensing Jamaican music in the UK to supply the expanding
West Indian communities living up and down England. Lee encouraged other Jamaican
producers to do the same, including Lee Perry, Harry J and Niney The Observer and also
became a conduit between the British music industry and numerous younger Island-based
producers - a frequent flyer reggae ambassador, a musical courier exchanging tapes for
royalties.
Bunny Lee's first recordings in the late 1960s were mainly rock steady but as the 70s
approached the music soon began to mutate and slow down into 'reggae' as the sound became
heavier, more rootsy and the sound itself began to change with the explosion of dub.
Lee was at the forefront to this dramatic musical shift into roots reggae and by this time had
become a major producer, capable of working with whoever he chose as world-famous singers,
DJs and musicians lined up to work with the charismatic man. Lee also employed a fluid but
stable set of crack session musicians who he named The Aggrovators.
Most of the recordings featured here come from the mid 70s, a time when Bunny Lee was
definitely in the zone, releasing heavyweight singles at an almost unstoppable rate. Bunny
Lee's career stretches over five decades and he has upwards of 2,000 production credits on
vinyl.
This album comes with extensive sleevenotes, an interview with Bunny Lee and exclusive
photography. The album is available as a CD pack with 24-page booklet, massive triple LP vinyl
with digital download code, house inner and full notes, as well as digital album.