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Jump in your spaceship and join us on our intergalactic exploration, as we are happy to announce that our next vinyl release is from Blossom Kollektiv's very own Leo Woelfel . Making his debut last year with a digital only release we are very excited to present his first vinyl release for the label titled Heuweid EP. The four track EP features three originals and a remix from Matthias Vogt that will take you on a deep exploration of space so buckle up and get ready to blast off.

We start our journey with the Frizzante mix of 'Heuweider Mineral' the track features a deep brooding bassline but with deep and dubby pads that takes us to a universe that plays with the darkness but keeps the light in plain sight. Backed with a solid kick and percussion to give the track a fully rounded feel this is one track that will put a big smile on any lover of the deeper side of house music.

Next up we get Matthias Vogt's interpretation of 'Heuweider Mineral.' Bringing a more broken beat reconstruction of the original, Matthias brings a raw flavor with a roaring bassline, moving snares and a redevelopment of the dubby pads that transforms the track and creates a feeling of weightlessness while floating through space.

On the flip side we are presented with a more classic deep house vibe with Leo's original 'Elke Ueber Der Bruecke ' this track is careful crafted with the dance floor in mind. A strong kick paired with tightly woven percussion and a classic deep house pad keeps everything moving in this distant but familiar world.

Our final stop on our planetary adventure is 'Stahlgruber Andacht' speaking to us in echoes the pads gently intertwine with a detailed drum patterns until the moving acid like bassline comes in to create a whole new dimension of sound. This concept is something that isn't all together new but done in a new and forward thinking way to finish off the full package of a finely tuned deep house record.

Released in 1982, "Weltweit" was the sole output of the band. It has appropriately become quite rare and difficult to find with the resulting high prices to obtain an original copy. Inspired by the greats such as Kraftwerk, YMO and Klaus Schulze, the three members crafted an exquisite collection of electronic pop songs played on a very impressive collection of analog synthesizers (Arp Odyssey, Korg MS series, MiniMoog, PolyMoog, Moog Modular System 55, PPG 360, some Rolands, and Doepfer sequencer), self-builds and drum machines (Roland TR-808) that were considered cutting edge at the time. The band would have recorded a second album but split up before that was possible. Members of the band continued to be involved in the music industry at least peripherally but didn't participate in further collaborations or bands. Also interestingly, MONOPOL was basically a studio-only project and actually never played live (despite some TV appearances).

Definitely a must-have for fans of NDW such as Bal Paré, Grauzone, Piefke & Pafke, Rheingold, Stahlnetz, Ti-Tho and the like.

'Human' is the debut album from Rory Graham, aka Rag'n'Bone Man and features the title track 'Human' and 'Wolves'. Rory has spent the last year creating his debut full length album, partly with producer Mark Crew (with whom they both hatched the Wolves EP, 2014, and the Disfigured EP, 2015).
Other producers include Two Inch Punch, aka Ben Ash, who has worked in a co-songwriter/producer capacity for Sam Smith, Jesse Ware and Damon Albarn's Africa Express, and Jonny Coffer, another producer/song writer whose CV ranges from Naughty Boy's 'La La La' to tracks on the recent Beyoncé album.
Human' is released on February 10th 2017 via Columbia Records and Best Laid Plans.

Not Waving takes 2017 by the scruff with his Populist EP, consolidating the myriad stripes of his acclaimed Animals album in four extended peaktime hammers forged for darkrooms, basements and warehouses alike.
If last year's LP saw you thru from day-into-night, or vice-versa, this one is aimed squarely at the gurny hours of abandon in between, with ferocious acid lines and jabbing drums stripped down and strapped up to prompt reckless behaviour on the 'floor.
Containing his first material written in the wake of Animals, the Populist EP is Alessio Natalizia a.k.a. Not Waving's strongest dancefloor statement since the one-sided Get Serious (2015) bullet.
It finds him taking the opportunity to make straight-up bangers, rather than 'songs', which were thoroughly tried and tested over successive tours of the USA and ountless shows in Europe too in
the last 9 months.
Too Many Freaks is an anthem in waiting, harnessing a barely-hinged sense of chaos between its careening synth lead, acid squabble and velvet-clad kicks, before the dry-rutting jag and plaintive vox of Vibe Killer takes a dog-grip like This Heat meeting Tuning Circuits.
Top marks go to the check-your-stylus intro for Control Myself on the B-side, which holds its fizzy line into a fetid crevice of what sounds Russell Haswell ramping with Powell, whereas the
crooked clampjaw groove of Ur Lucky Ur Still Alive pivots around a sample a lone raver at Atonal, Berlin 'who had no idea how she got there and what she did the night before'. A ruddy good night
all-round, then
Not Waving co-owns the Ecstatic label alongside Sam Willis. Not Waving is widely regarded a connoisseur of Italian new wave and post-punk music - he compiled the Mutazione (Italian
Electronic & New Wave Underground 1980-1988) set for Strut - and has issued a series of acclaimed, sought-after, playfully anachronistic twists on that sound since 2013.

Side A, put the needle to the groove for an opening introduction to the sound of Midu aka Nicolas Midulla (Funky Monks Records) - "Salcame Selva" is the name of the track and we are presented with some deep, soul-washed house, laced with delicate, shimmering chords and propelled forward by an infectious, rhythmic -baseline. On to track A2 and we find ourselves listening to the unmistakable sound of Tommy Vicari Jnr. Cooking and reshaping the original "Salvame Selva" in a cauldron of bubbling-funk, spring-loaded drum-beats and seasoned with just enough bounce, to elevate the most static of dance-floors. Turn the record over to the B side, where you will find the sound of Prang aka Quitter (Ammo84 / Charmin / Les Temps Difficiles). Meeting you head on and slicing through your consciousness like a scalpel blade, "Last Few Bars" has been designed with precision and intent, to direct the dance floor, enchant and hypnotize, with consuming charm. The finale for the labels second release, comes from Frankfurt, Germany - from the mind of Nils Diezel (Nixwax). "Moody Sundays" plays host to a track, which appears to invoke ecstatic and magical rites, elevating your mind, enveloping the senses and leaving the listener in a dream like state.

Returning to Hypercolour with a second volume of his Sugar Cane Chronicles, Gary Gritness lays down more devastating funk and classy riffing over his trusty Roland 606. After the first volume, released last April, sold out its vinyl run, Gritness delivers more explorations and adventures into his unique and soulful world. Having elusively built his reputation as an outstanding session player, live producer and fantastically dressed Funkateer, Gritness has delivered a handful of releases on labels like Clone Crown Ltd, Nyami Nyami and his own DIY and cassette-only Slikk Tapes. "Steady Choosin" gets downright fusion-jazz and Gritness fires out seductive melodies and latin piano playing of the highest order whilst "Countin Up With Starr" delves into a darker well of synth mania, with a sexual groove reminiscing of Rick James, all the while retaining Gary's signature licks and riffs. "Runner Joe's Revenge" on the flip ramps up the hysteria for a gritty and colossal production that typifies his love of cyberpunk soundtracks and the drama and narrative to be found in this style. "The Sugar Cane Chronicles Vol. 2 closes with the low-slung "Pool Shark Loot", wrapping up on a mysterious and captivating tone; its wandering bassline and melodic touches carrying all the signature Gritness sounds, with the P-Funk sleaziness on top.

Six years after his last album on Miasmah, Schattenspieler, it's great to find Marcus Fjellström resurrected after several long years spent composing his audio-visual opera Boris Christ.

Born out of shattered dreams and an obscured vision of the future, Skelektikon is a delirious yet lucid exploration of the farthest and most conflicted reaches of the heart, teeming with confusion, passion, and ghostly shadows. Being no conventional composer in any way, Marcus stumbles further down his musical domain of detuned orchestral (re-)arrangements and pain-inducing synth passages, arriving at a most unique and personal result. Where Schattenspieler gave way to noir filled alleyways, Skelektikon fills them with paranoia. It's the sound of Limbo, of dancing amoebas, of deviant skeletons, nostalgia and futurism, or quite possibly none of that.

Inhabited by the bizarre and the beautiful, Marcus's music is a blurred yet encouraging representation of how you can never trust your own feelings - or eyes and ears for that matter. And yet, we can't shake the idea that the truth is to be found somewhere within this alien language, as delivered to us through the speakers. Opening our eyes after the final track has dissipated, we wouldn't be surprised to find someone or something there, staring at us, in silent and unsettling knowledge.

Mit mittlerweile 78 Millionen verkauften Alben ist Marshall Bruce Mathers III alias Slim Shady alias Eminem als HipHop-Künstler längst in Dimensionen vorgestoßen, von der die Konkurrenz nur träumen kann. Sein kreatives und persönliches Tief hat er bereits mit dem 2009 veröffentlichten Comebackwerk Relapse hinter sich gelassen. Statt, wie zuerst angekündigt, diesem Album einen bereits weitgehend fertiggestellten zweiten Teil folgen zu lassen, hat er alle diese Pläne kurzentschlossen wieder über den Haufen geworfen und komplett von vorne angefangen. Mit Recovery ist ihm eine der stärksten Platten seiner an Höhepunkten nicht geraden armen Karriere gelungen. Unter der wie gewohnt souverän zurückhaltenden Regie von Executive Producer Dr. Dre lieferten unter anderem DJ Khalil, Mr. Porter, Emile Haynie, Just Blaze und Boi 1da ausschließlich erstklassige Beats ab, die Eminem mit seinen Reimen in gewohnter Manier verziert. Bereits beim Opener, dem wütenden "Cold Wind Blows", präsentiert sich Slim Shady in absoluter Bestform, ebenso wie beim etwas verhaltener aber nicht mit weniger Nachdruck vorgetragenen, stark autobiographisch eingefärbten "Talkin' 2 Myself", bei dem Sänger Kobe und dezente Rock-Elemente für den nötigen musikalischen Kontrast sorgen. Nach einer kurzen Verschnaufpause folgt dann mit dem gemeinsam mit Pink eingespielten "Won't Back Down" einer der absoluten Höhepunkte der Platte. Eine ungemein elektrisierende Nummer, bei der Produzent DJ Khalil erneut erfolgreich auf harte Gitarrenklänge setzt. Besonders beeindruckend fällt auch die Midtempo-Hymne "Going Through Changes" aus, deren Gesangsrefrain sich Eminem kurzerhand beim Black Sabbath's Klassiker "Changes" ausgeborgt hat. Doch auch ohne fremde Hilfe macht er zum Beispiel im Track "Not Afraid" eine gute Figur. Sehr stark fällt auch der zusammen mit Lil Wayne aufgenommene Titel "No Love" aus, bei dem als tragendes Element ein Sample von Haddaway's unverwüstlichem Hit "What Is Love" aus dem Jahr 1993 zum Einsatz kommt, sowie das bereits als Single erfolgreiche Love The Way You Lie, bei dem Rihanna als Gastsängerin brilliert.

Japan's Sauce81 follows up on his modern boogie/funk gem 'Natural Thing', with the equally infectious 'Dance Tonight'. It may sound like it's been hiding in a dusty crate of unheard records all these years, but it was actually recorded last year in Tokyo, all vocals, instruments and production handled by the man himself. Forthcoming on 7inch in Feb 2017. Includes Dub version on the B-Side. Put some weight on it!

Red Vinyl

After a very successful label launch last year with "In Aeternam Vale - Self Destruct EP". Linda Records returns with another straight talking, analog fuelled 10". This time welcoming aboard Berlin based Russian artist "Alexey Volkov". His three track EP "Cold Blooded Genius" comes finely presented on transparent red ten inch vinyl (limited pressing). Whilst staying true to its current white label feel, this time Linda's trademark eyes, also a fitting red. On the A Side at 45RPM the title track "Cold Blooded Genius" and on the B Side two tracks will spin at 33RPM, "Unfriendly Nation" & "Curtains Of Flesh". We hate to categorise and attempt to summarise what these pieces of music craft sound like into words, we'll leave you to indulge for a short time to the machine noise of the highly regarded talent that is Alexey Volkov...

Despite a discography that stretches right back to the late noughties, little is known about Turkish producer Ali Kuru. Perhaps he's publicity shy, or simply wants to let his music do the talking; either way, the music he makes is magical, and undoubtedly worthy of wider acclaim. Kuru came to the attention of Leng late last year, releasing the Luna 12' his frst vinyl release for six years - in January 2016. That EP boasted two typically exotic and fragrant tracks, both of which effortlessly joined the dots between dub disco, hazy house, gentle downtempo movements and snaking, Middle Eastern instrumentation.
Here, the Istanbul native further explores his unique musical perspective, serving up a quartet of tracks that eschew easy categorization. Twittering birds, throbbing dub basslines, crisp hip-hop beats, trippy vocal samples, and distant chimes combine on the moody 'Mandari', while 'Causa' peppers a jangling, acoustic guitar-laden loop-groove with futtering futes, deep space electronics and rolling hand percussion.On the fip, his more exotic musical inspirations return to the fore. There's 'Zurna' - the musical equivalent of a panicked dash through a bustling late
night market full of drunken jazz drummers, metronomic groove merchants and snake-charming pungi players - and the low-slung stomp of 'Avaz'. Here, sampled vocal chants and Bollywood-inspired instrumentation wind their way around a rubbery bassline and handclap-heavy rhythm track. If
there was such a thing as Turkish-Hindi jazzdance - and maybe there should be - then this would be a guaranteed foorfller.
All four tracks offer further glimpses into Ali Kuru's fertile imagination. It's the perfect teaser for the Turkish producer's debut album, which will be released by Leng in early 2017.

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

Mint Condition - A brand new record label focussed on excavating the outer fringes of classic House and Techno. Unreleased mixes, classics and overlooked gems mined from the last 20+ of contemporary dance music are the order of the day. From Chicago, Detroit and New York to London and beyond, Mint Condition have got their expert digging hats on to bring you exclusive heat and those rarer than rare jams that have been on your wants list for years! Dig in....
Arthur Forests name should be more widely known in the world of dance music, the man lent his expert to touch to more than one classic record emanating from Detroit during his time and has quietly left an indelible fingerprint on House and Techno history. Here at Mint Condition and for our third release we are extremely proud to present one of Art Forest's (in our opinion) finest moments - The majestic, futuristic 'Expectations' EP. Released in 1992, this 4 track EP has always been sought after by Detroit lovers worldwide. Often very difficult to track down and commanding high prices on the second hand market, this 12" is a real rarity. Showcasing a style that stands out from a lot of records released around the same period "Expectations" still sounds so killer today. Listen to "Flow with me" on the b-side, an insanely deep, melancholic piece of Detroit house, steeped in motor city futurism (those synth pads!) and with an otherworldly vocal performance from Dan Carter it ticks all the boxes, absolutely sublime and worth the admission fee here alone. Stunning.
If you're up to your neck in the history of Detroit dance music, or if you've literally just stumbled upon this entire world of amazing music (Welcome!) you'll want a piece of this. Beautifully crafted deepness from a quiet master of the artform, what's not to dig MC003 has been reissued with the permission and involvement of Arthur Forest and remastered by London's very own Curvepusher. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your new favourite reissue label - Mint Condition!
'Mint Condition - We're out there'

This is the first release of Steady Work By Dear Friends. Based in Heidelberg (Germany) they catered the city and its music lovers with good music for the last ten years. Dog Patrol is a young Mannheim (Germany) based producer and a long term and very good friend to the Steady Work By Dear Friends crew. Dog Patrol delivered for this release warm and shaking house. He twisted but not dubbed over his raw and lo-fi sounding style to three crawling but thriving tunes, which easily fit and hit every dancefloor.

future sessions is proud to bring you a release from the owner and operator

of finale sessions and one half member of the legendary balance recordings imprint with the legendary chez damier . so we will start you with the first track which is a remix of the classic track chez damier - never knew love with michael zuckers take on the track which gives it a real dancefloor driven sound with its funky guitar streams filled with filtered synth's and perfect drum programming and then we get to the second track 'wisdom and knowledge feat. maya angelou filled with her masterful poetry and michael zuckers pads and deeeeep bass and perfect drums gives it what it needs to flow streamingly then last but not least we have 'jacobs ladder' with is smooths pads and it's mesmorizing and hypnotic keys but the drums are the key to this track ..we want to thank you at future sessions for giving us the oppurtunity to do what we do and we thank you for the support.

After his great record on Innervisions, the guys from Exit Strategy convinced Nuiton to get this killer release for their label.

Like Baudelaire once said: - You need three things to create art: currentness, history and last but not least coincidence'

Phantom Forth were the brother sister team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Paul began recording his own music after purchasing a 2-track from Oceania Sound. He formed a band with his flatmate and eventually met Lorraine through Debbie. With a shared love of Young Marble Giants and Cabaret Voltaire they started to rehearse at LAB Studio.

'The EEPP' was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casio-Tone VL, Boss DR-55 Dr. Rhythm, Roland TR-606 and an acoustic Yamaha bass. All original vinyl copies contained many clicks and pops and due to paper bits from previous jobs that pressing plant melted down. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation 'The Last Rumba'.

All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.

RED-BLACK MARBLED VINYL

It is extremely difficult to detect an 'Extrasolar Moon' and this analog dub techno cut has been proved to be as close to the free-floating planet as possible. Its bassline-driven raw jacking acid techno is perfectly aligned with grad_u's signature heavily echoed dub, and the only thing that protects one from escaping the orbit is flipping to side B. There one'll find yet another 10+ minutes of goosebumps, this time erected by 'Geomagnetic Storm', a pure and emotionally vigorous dubbed out bomb.

The 12" from Redscale is an ultimate equity between the outer space of a dancefloor and the inner self of the mind. Last but by no means least is the fact it has been mastered at the legendary Dubplates & Mastering in Berlin.

Electro, Breaks & SciFi-Disco! Dagobert's intergalactic fourth long-player on Dominance Electricity,
documents the transition from his former Electro-Breakbeat dominated productions to the genre-crossing
Electro variations of his new project MasterArp.

Covering works since his last release in 2011, the carefully selected songs on Startopology draw the listener
into Dagobert's cosmos of melodic and rhythmic playfulness somewhere between Electro, Breaks, Space-Disco
and Sci-Fi score music.

Electro, Breaks & SciFi-Disco! Dagoberts intergalaktischer vierter Longplayer auf Dominance Electricity
dokumentiert den Übergang seines bisher Electro-Breakbeat-dominierten Stils hin zu den verstärkt
Genre-mischenden Electro-Variationen seines neuen Projekts MasterArp.

Produziert seit seiner letzter Veröffentlichung im Jahr 2011, ziehen die für dieses Album sorgfältig
selektierten Werke den Zuhörer in Dagobert's Kosmos aus melodischer und rhythmischer
Verspieltheit irgendwo zwischen Electro, Breaks, Space-Disco und Sci-Fi Filmmusik.

7"

Dürerstuben are back at them ivory keys to prove once again their broadly spread outcome of funk and groove.
Being responsible for mothership Luise's first release and hence smoothing the way for a whole lot of pleasent memories we can look back to by now, it's that kind of re-(re!)-animation which puts our hearts to pleaseant warmths. Saddle your moped, pull up your Levi's and straighten your backs: Trays'n'Hits is the right compagnion for long lasting late-night drives, self proclaimed city slackers and mother earth's first outcome of country music you are bound to be proud of listening to. Spin it, Johnny!

yes it's the Amsterdam rockstar, who over the last fifteen years rocked major clubs and festivals to smaller bars and dodgy underground locations all around the world.TIP!

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.

Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the '80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.'

Technology is only a tool, which we also had in mind during the recording process.' Adds Lawrence. We decided to go back to how we used to make our records, when we didn't have so many 'sophisticated' audio devices. Back to when we interacted in the studio together as musicians.'

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.


The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of (Where) Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

The first vinyl LP on our specially created Pied Piper imprint - featuring established favourites, recent discoveries and other rarities from the Detroit-based production company.

First northern soul collectors scoured the junk shops, charity shops, deletion bins and mail order lists for records by their favourite artists. Next they tried other discs on labels for which their heroes appeared. Later came the search for titles by songwriters such as Van McCoy, Popcorn Wylie and Ashford & Simpson and the work of producers, arrangers and the companies they worked for.

Pied Piper was a Detroit-based production company with a big enough catalogue to have been a successful indie label in its own right. Apart from their own short-lived Giant imprint, they were credited on another 20-plus 45s and three LPs issued on various other logos. Even more impressive was the music they left on master tapes. Around 50 finished tracks have emerged over the last 20 years and it has been Kent's honour to release them on our specially created Pied Piper label. This is our first vinyl album taken from that catalogue.

Included are perennial favourites such as 'I'm Not Built That Way' by the Hesitations, 'That's When I Need You' by Freddy Butler and Mikki Farrow's 'Set My Heart At Ease', which we've mixed with recently discovered soul sensations 'Voo Doo Madamoiselle', 'More Than A Memory' and 'We Go Together'. As a bonus, the version of the Cavaliers' 'We Go Together' is a completely different take to the one on our first Pied Piper CD, featuring a rap intro all serious fans will need. Nancy Wilcox's opening track 'More Than A Memory' is a superior sounding master taken from a recently discovered tape and there are alternative original takes of Lorraine Chandler's 'I Can't Hold On' and 'You Only Live Twice'. Classy rarities from Tony Hester, September Jones and Rose Batiste complete the collection.

Ady Croasdell

Warehouse Find!

After his heroic release 'Like You Mean It EP' Uffe returns under a new name - U Dee, where he looks to explore a more stripped back, lo fi, floor focussed sound.
a Uffe has seen great success in the last year with release on Pets as well as the release of his second LP 'No!' on Max Graef's infamous Tartlet label, which has seen amazing support form the likes of RA, XLR8R and DJ Mag.
Here on 'Love Is Gone EP' we're treated to 5 tracks of lo-fi, minimal DJ tools full of character and a quirkiness that come like a breath of fresh air

POP AMBIENT - our longest-running compilation series after Total - sees a new instalment for 2017, featuring exclusive material from acclaimed genre veterans and series newcomers JENS-UWE BEYER, YUI ONODERA & SCANNER, MAX WÜRDEN, LEANDRO FRESCO, THORE PFEIFFER, KENNETH JAMES GIBSON and SOULSAVERS remixed by WOLFGANG VOIGT.
Following his own cues from preceding entries, Pop Ambient chief curator Voigt again strikes a perfect ratio of established producers and debuting guests: our complete Pop Ambient solo album crew makes an appearance, from JENS-UWE BEYERs atmospheric soundscapes on the tracks FINAL 9.1 and FINAL 10, to THORE PFEIFFERs glitch romance GOOD LIFE, LEANDRO FRESCOs beatific drone fests SONIDO ESPAÑOL and EL ABISMO, as well as KENNETH JAMES GIBSONs melancholic epic HER FLOOD KNOCKED ME TO THE GROUND (BUT I WAS ALREADY THERE. Other returning artists include ANTON KUBIKOV of SCSI-9 fame (with electronic reverie DEKKA) and Cologne soundsmith MAX WÜRDEN, who was last seen releasing wonderfully immersive albums on BineMusic and Wolfgang Voigt's very own Exponate series. His guitar-infused, dubbed-out cut FERNFELD and the mysterious electronic mantra 186.000 MILES PER SECOND are particularly striking renditions of the rich sonic narratives possible in Pop Ambient.
For the 2017 release, we welcome Tokyo-based Pop Ambient novice YUI ONODERA with his tracks CROMO1 and CROMO2, which both serve as opener: a trained musician and architectural acoustic designer by trade, Onodera embeds diverse influences from traditional sound design, film scores, contemporary composition and electro-acoustic experimentation in his work, resulting in intricate drone sculptures and sound skylines. This skill set gels naturally with the sonic sensibilities of iconic experimental composer SCANNER who teams up with Onodera for the cut LOCUS SOLUS - it's an incredible honour to have such a towering figure in advanced electronic music on board. Wolfgang Voigt himself makes an appearance as remixer, turning the track HAL from electronic-rock-gospel duo SOULSAVERS' 2015 album "Kubrick" into a voluptuous and immersive sound journey. It's the cherry on top of a particularly fluffy cake that will prove irresistible to any connoisseur of ambient music.

Alek S offers up another dose of pensive techno vibes in his "Paradise Lost" EP. Side A opens up with "Bold", a slice of laid back while still pounding techno, boasting zippy synths with an unmistakable analog flavour. It's closely followed by Andres Zacco's rework of "Honey Wheat", an apt reconstruction of the original that's aimed squarely at the dancefloor. The Argentinian producer and recent Ilian Tape alumni dives in with a powerful groove, cutting its way through a suspended atmosphere full of spaced out sounds.
Over on the B-side we're greeted with "Paradise Lost", a slow-paced melody that gradually shifts into a dreamy groove filled with spaced out drums and abstract delays.
Last but not least, the original version of "Honey Wheat" is a somewhat atmospheric, yet functional floor warmer that fits a resigned groove.

We certainly have a soft spot and a proven track record here at All Ears for these kind of magical, mysterious morsels
Elaborate Hoax follow up last year's instant sell out 001 with Another fine EP of lovingly mined tracks, expertly reshuffled for contemporary floors From a buried Brazilian Jazz-Funk gem, to a killer early 70's jam outta France, to a super addictive Hot Gossip rewire...Seek, and ye shall find !

Beautiful Deluxe Artwork, Limited ot to not to is an experimental RnB project by VA native Ian Mugerwa that combines low fidelity electronic recording techniques with unconventional song structures to produce music that serves as homage to dusty old blues recordings. At 19, Ian left his hometown of Fairfax for Richmond, where he slept on friends' floors for several months while recording Goshen. During the day he would "hunt dussy" and during the night he would haul borrowed equipment over to the VCU music facilities and record until the morning. He was moderately successful on both fronts. The resultant recordings form a coming of age album, a snapshot of Ian from the ages of nineteen to twenty. Ian's goal was to explore new aesthetics in black music through use of nontraditional methods, creating less polished, less sterile RnB in the process. Such methods included layering 40+ cello tracks to create the illusion of an orchestra, or collaging four, separate, 4-minute tracks of improvised percussion into one. Most drums were recorded last. Despite the focus on experimentation, it was important to Ian that he be crafting pop music. It is his belief that an impactful artist has, at least to some degree, a moral responsibility to deliver their art to the maximum amount of people (to efficiently help art as a whole progress). In other words, if restraint can be exercised, it ought to be. Similar artists include James Blake, Phil Elvrum, Mark Hollis, and D'Angelo.

Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Earlier this year, Subwax Bcn made an important contribution to the electronic music community by having the timeless dub techno compilation Vibrant Forms II by Fluxion remastered and reissued. First released in the year 2000 on Chain Reaction, Vibrant Forms II is widely considered to be one of the greatest achievements in the genre. As it turned out, Vibrant Forms II became one of the last records to be released on Mark Ernestus and Moritz von Oswald's classic label - a suitable swan song if there ever was one. And that's it, right

Well not quite.

If one would search for Fluxion - Vibrant Forms III, Discogs would come up empty and Google would treat it as a misspelling. Until now.
Konstantinos Soublis, aka Fluxion, and Subwax Bcn have decided to pick up the banner and release Vibrant Forms III as a CD as well as four individual 12" records under 2016. It contains everything you could hope for and more: The massive, booming basses, the clicks and hisses, the atmospheric thunderstorms, the opium smoke-scented streaks of reverb and dub echoes. The warmth. Yes, above all else the warmth: Sometimes moist and dripping as in Safe Harbour, sometimes blisteringly dry as in Variant. It's no easy task, giving cold, dead machines warm breaths. And no-one quite does it like Fluxion.

The Reissue of Vibrant Forms II was an act of cultural preservation. It reminded us about the legacy of the Basic Channel label family, in which Chain Reaction played an important part. Without this legacy, the contemporary body of electronic music would look different and make very different sounds. With the Release of Vibrant Forms III, Subwax Bcn takes it one step further. Fluxion's Vibrant Forms III album remind us of the timelessness of truly great music, never mind the genre.

The second outing from BTG follows, in tradition, their 2 originals and 2 remixes format. This time round TOYC creates a slower paced dance floor obliterator titled 'Kicks' sounding like a wonky laser gun trapped inside a broken 808 landing somewhere between broken techno and bass. On the remix Project Mooncircle and 20/20 LDN affiliated Deft deconstructs and reconstructs TOYC's track into a maximalist beast fusing the current sounds of 160 BPM 170 BPM and half­time DnB with the technical precision of Amon Tobin. Up next the booty­shaking stormer they call Itoa, known for releases on Bad Taste and being featured in storming 160­/170bpm sets by DJs and tastemakers such as Om Unit and Sam Binga. 'Snake Pass' is a classic Itoa track, playful bouncing subs and flickering percussion and shards of vocal, landing somewhere between footwork and booty bass. BTG co­founder Etch sets the pace with his remix of Snake Pass, coming through with a schizophrenic beats influenced sub heavy stepper that slowly evolves into a breakbeat onslaught.

American experimental musican Shane English continues in a long tradition of outsider electronics as he's been humbly prolific in his output though the years involving himself in numerous recording projects.Collaborating with Jonah Lange in their group Corporate Park as well as an ongoing collab with Beau Wanzer (seeing a release last year under the CP/BW name), English now commits his second full length solo offering to vinyl in the form of the General Dimensions lp.Sparse machine driven electronics dominate the recording providing a back drop for the occasional pulsating rhythm, metallic clank or floating obscured vocal. While it is a dark and sparse affair there is a quiet downtrodden beauty throughout giving the recording a sense of uncertain serenity in an almost shoegazey way. Highly recommended for those into early electronics.

It's been five years since his acclaimed debut 'Severant' and time has proved it prescient, its futuristic trap influence is now ubiquitous. 'Slow Knife' seems to return to where 'Severant' left off, but with the intricate sound design of last year's haunting EP 'Assertion Of A Surrounding Presence' subsumed into the compositions, making them more exacting and beautifully crafted. Between albums Kuedo has been working as a sound designer and composer for hire and the application of intent and widescreen rigour that commercial work requires has definitely found its way into the new album. 'Slow Knife' has the subtlety, ambition and pacing of a brilliant soundtrack - a sense of an album of scenes, that easily lends itself to an impressionistic narrative. But, as with 'Severant', the title suggests relationship unease, with the slow knife being a metaphor for the building resentment in any close relationship. 'Slow Knife' is almost two albums, the first half, according to Kuedo, invokes the seduction of the city, taking the music of Michael Mann's 'Manhunter' as a cue, with the latter half being inspired by the bloody starscapes and voodoo wilderness of films such as 'Angel Heart', 'Night Of The Hunter' and more recently the 'True Detective' series. Both halves of the album are also in thrall to Mica Levi's inspiring 'Under The Skin' soundtrack, especially in the turbulence of the mid-section. The songs of the albums first half are synthetic and seductive, a gelatinous veil with shades of the pseudo-sophisticated trance of Enigma, of all things, underpinned with dusky unsettling shadows and atmosphere. 'In Your Sleep', perhaps surprisingly, features the vocals of Hayden Thorpe from Wild Beasts, who settles his dark, whispered vocals into the moonlit shadowy atmosphere. 'Floating Forest' is the first track to allow back some of Kuedo's experimentation with the Southern rap template, which he explored before it became commonplace, with echoed drum splashes and a sinister repetitive motif, ending with a haunting growl. The second half of the album enters wilderness territory with 'Approaching's slow descending notes, before 'Broken Fox - Black Hole' throws the record into the cathartic darkness, as undulating chords play hide and seek with riotous reeds and scratchy strings grown from challenging collaborations with cello player Koenraad Ecker (from Lumisokea). 'Breaking The Surface' shivers and coils, before metal and strings dominate while 'In Your Skin' feels like being lost in a vast hinterland before 'Warmer Light' introduces some memories of sunshine, with its plucked bassline and spiralling dub. 'Halogen Light' opens with the sound of crickets and a clear piano, cleansing the soul before 'Lathe' brings things down to earth with a short, yet powerful coda.

Correspondant can finally reveal the release of the remixes for Man Power's debut LP, which was released last year on Correspondant.
A year in the making, the remix package features artists and friends hand-picked by both Jennifer Cardini and Man Power himself.
Disco Halal's Moscoman remixes the baggy splendour of Beilsteiner, creating a rolling and belching extended opus more focused toward the peak time dance floor.
Hivern Disc's JMII takes Hunting Swan and turns it inside out, exploring space with a cerebral, schizophrenic quality.
Alternatively, Pale Blue (Mike Simonetti) takes Boys Beware and re-imagines it as an aggressive drum workout.
Completing the package, Suade, the artist who also mastered the original album, replaces TEN's balearic leanings with an IDM sensibility, yet still retains the optimism of the original track.
All 4 remixes manage to exist as distinct works in their own right, while paying homage to the "magpie" approach of the original long player.

After last years 'Legohead EP' which featured on Fabric 085 mix cd, Fatdog returns this time to his own label. With 'This is how i feel' we get a bumper selection of sun soaked stylings with dub touches chugging along nicely with the type of shuffling slo-mo rhythms that he is becoming known for. Flip leans into funkier old school & electro territories, conjuring up slightly darker moods yet still keeping within the fat dog flavour, ending with a flip from D train - keep on, to great effect.

Original release from 1977 "Reissues of a legendary artist, pioneer of the French electronic music. "The French proto-electro is making a come-back as we've seen it with the success of both Cosmic Machine compilations. "Their 7 Onyx"sold over 3 million copies worldwide. "Space Art is behind the massive hits: Onyx", Give Me Love", Love In C Minor"and more "One of half of the band, Dominique Perrier, is one of legend Jean-Michel Jarre's closest collaborators. Recognized as a keyboard virtuoso, he worked on all Jarre's albums from Rendez-Vous"(1986)to Oxygène 7-1 (1997) and still tours with him around the world. Space Art also toured with him in China in the early '80s. "Alongside Jean-Michel Jarre and Cerrone they are one of the most influential bands that pioneered electro music.

Hinter Anohni verbirgt sich Antony Hegarty, die Sängerin von Antony and the Johnsons. "Hopelessness" ist ein Dance Album mit Soul-Gesang und politischen Texten, die staatliche Überwachung, Drohnen-Krieg und Umweltzerstörung thematisieren. Indem Anohni zeitgemäße elektronische Musik mit politischen Inhalten kollidieren lässt, wirft das Album gängige Erwartungen an Pop-Musik über den Haufen. Passend dazu erschien die erste Albumauskoppelung, "4 Degrees", zur Pariser Weltklima-Konferenz im Dezember 2015, was der "Guardian" mit "Hugely affecting (...) instantly earns its place in the pantheon of great musical protests' kommentierte. Im selben Fahrwasser bewegt sich auch die zweite Single. Musikalisch wunderschön, inhaltlich erschütternd brutal: "'Drone Bomb Me' is a love song written from the perspective of a young girl in Afghanistan whose family has been executed by unmanned U.S. drones. She dreams of being annihilated." Visuell wird das Ganze von einem atemraubenden Clip des bekannten Musikvideo-Regisseurs Nabil (Foals, Bon Iver, Bruno Mars, Kanye West) unterfüttert, in dem Naomi Campbell in der Hauptrolle zu sehen ist. "Hopelessness" entstand in Zusammenarbeit mit Oneohtrix Point Never und Hudson Mohawke.

For those of you wondering what Adesse Versions was doing at our Heist Boiler Room this summer in London, the answer is here. The "Push it along" EP for Heist is Adesse Versions first appearance on our label and features 4 stunningly raw and warm originals, and an amazing remix by New York's ambassador of funk: Ge-Ology, together with multi-instrumentalist Marc de Clive-Lowe on keys.
After having released numerous records for Jackmaster's Numbers, Local Talk and Toy Tonics, we're happy to welcome Adesse Versions to the Heist family. When he sent us his demo's we had the tough job to choose the right tracks, cause there were just too many. The selection on the "Push it along EP" features what we feel are his purest work up to date. With only a small amount of elements, he manages to create such a big and warm sound, finding a great balance between gritty percussion, rich analog synths and funky sampling work.
Opening track Tout it is built around an ever evolving arpeggiated synth, a dancehall-esque percussive riddim and lovely pad work. It builds up slowly, without ever becoming dull, changing small elements and adding momentum with each step.
E to E is based on a chopped vocal looped to bits (only shouting: (E, E, E, E, E..), dancing hihats and a rolling bassline, whereas Geology flips the high energy original into a classic deephouse tune that fans of Larry Heard will love. The steady bassline and trianglework form a perfect canvas for MdcL's work on various synths, adding layer after layer of melodrama.
The title track goes for the same recipe as Tout it, with fierce snares laying down the rhythm and a far away disco sample adding the right dose of funk. Ebony Roses is the final track of the EP: A beatless groove built around a spoken word vocal with dreamy piano work around it building up suspense as the track evolves.
We've been playing this EP over the course of the last few months and it's been getting great response, so we're happy to finally share it with you.

Sincerely yours, Lars & Maarten

Der Intermedia-Künstler Conrad Schnitzler (1937 - 2011) ist einer der wichtigsten Vertreter deutscher Elektronik-Avantgarde. Er gründete 1967/68 den legendären Berliner Subkultur-Club Zodiak, war Mitglied bei Tangerine Dream und Kluster und veröffentlichte zahlreiche Soloalben. In seinem kaum überschaubaren Archiv fanden sich auch zwei Bänder mit der Beschriftung "Filmmusik 1975 A" und "Filmmusik 1980 B". Zu welchen Bildern diese Stücke gehören, lässt sich nicht mehr zuordnen, was auch daran liegt, dass sie allesamt keine Namen haben. Es ist noch nicht mal sicher, ob es überhaupt jemals Filmmaterial dazu gab.Auch die Jahreszahlen haben wahrscheinlich nichts zu sagen, da die Bänder teilweise dieselben Stücke enthalten, wenn auch in unterschiedlicher Qualität. "Filmmusik 1" präsentiert eine erste Auswahl dieser rundstücke, die für Schnitzlersche Verhältnisse erstaunlich zugänglich sind: hypnotische Bassläufe, stoische Drumbeat-Rhythmen und kristallene Melodiefetzen.

Josh Praus has been involved in San Francisco's Bay Area scene for the last two decades. A prolifc collector and player of records, What We Tellin' Them marks his frst public outing as a producer. As debuts go, it's pretty darn impressive.
Praus has been working hard in the studio over the last three years, creating tracks that draw infuence from a wide range of styles and artists. He cites 'downtempo, disco, house, Italo and techno' as major inspirations,
and listeners may hear elements from all of these disparate styles on this assured, confdent EP.
Some may hear echoes of the trippy, tribal-infuenced house sound of Siesta and Tango Recordings in the dense, drum-heavy shuffe of 'What We Tellin' Them', while others may fnd comparisons with African rhythm tracks and hypnotic, late night techno. However you frame it, 'What We Tellin' Them' is
an impressively percussive, mid-tempo workout designed to tease and titillate late night dancefoors. Flipside 'Lucas Valley Dr', featuring the dreamy, freestyle vocals of experienced San Fran singer Nina Lares, couldn't be more different. Sparse, synthesizer-driven and undeniably intoxicating, it seemingly channels the spirit of both dubbed-out West Coast deep house, and the similarly delay-laden New York proto-house of Winston Jones and Paul Simpson. Throw in clear Italo-disco and Chicken Lips infuences, and you've got something that's undeniably magical. Both tracks were produced by Josh Praus at his home studio, with additional production, mixing and mastering by friend Layne Fox, best known as part of regular Leng contributors 40 Thieves.