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Seule une étude concise des différents mouvements automates de la musique électronique et leurs constantes permet de les subsidier par des séquences pré enregistrées plus ou moins longues et des les varier dans leurs assemblages via dans un premier temps des outils informatiques simples avec des contrôleurs appropriés. Réunir l'esprit d'un studio d'une période, endroit, d'un style, d'un type de machines ou de marques, la multitude des genres et styles à travers sampling ou reproduction, les possibilités sont presque infinies dans un maigre espace après de longues heures de travail. Une sensibilité suffisamment entrainée peut les naviguer. Ainsi le glorieux "rétro boy" avec sa boite à rythme et son synthétiseur, manifeste de la préhistoire de la techno, tout comme plusieurs personnes manipulant ces machines ne sont qu'un simulacre de ces groupes musicaux des siècles précédents. L'artiste en sa matière assemblée, construite et mutante, lui seul touche à l'individu dans son plus proche appareil. Dans l'enfance de la musique électronique dansante, le musicien reproduit l'autrefois essentiellement acoustique dansant directement sur un petit ensemble d'appareils et ne pouvant qu'agir sur de faibles transformations sonores, restreint à des possibilités de son par les ingénieurs d'une firme parait bien triste dans l'échec de la libération de ses semblables. Aujourd'hui par le biais de la multitude des supports et leur consultation facilité par les nouveaux médias, naviguer entre pratiques d'autrefois et connaissances de ces anciennes cultures tout en les combinant au mode d'aujourd'hui permet le rassemblement de la culture d'une lignée dont le point vectoriel semble remonter vers la naissance d'un certain assemblage physique qui engage un peu près toujours un certain ensemble de mouvements déclenchés autour d'un axe sensible ici non seulement à l'interaction sonore dans un isolement provoqué mais aussi dans le rapport du corps dans l'environnement construit autour d'une énergie artificielle ayant pour but principal le déclenchement de couches successives de vents à modulation de fréquences variées et pulsées à de multiples échelles par la sensibilité humaine de plusieurs personnes à plusieurs époques et rassembler autour d'un même esprit festif harmonieux. Ainsi, c'est l'enregistrement de ces performances que nous vous proposons dans son grand esprit dérivé à l'architecture économique proposée par la société d'aujourd'hui.

After a superlative EP from Chicago's DJ Rahaan, Dublin's Fatty Fatty Phonographics is back with another installment of Pablo and Shoey's 'Rejigs', which have had support from the likes of Hot Toddy, Bicep, Get Down Edits, Leftside Wobble, House of Disco and Rub'N'Tug.

'No Good (Start The Jack) sees them take on Kelly Charles' 'You're No Good', a late 80's New Jersey house bomb and source of the infamous vocal hook from The Prodigy's 'No Good (Start The Dance). After one of the great 80's dance music clichés - an intro where some sassy mama gives her boyfriend shit down an old school telephone line - they go straight for the jugular with that big big hook, spinning the whole thing out for 10 minutes with lots of hypnotic piano loops and large chunks of the great song at the heart of it all. This is one that the crowd will be immediately singing right back at ya at 2am!

'Gonna Get Ya', meanwhile, goes for some Greg Wilson 'Edit The Edit' style shenanigans, taking on Barna Soundmachine's sly, slinky funk loops. The Barna man's original had a whole heap of Diana Ross' vocals from 'I'm Gonna Make You Love Me' at the centre but never let rip with the big hands in the air chorus. The lads have rearranged it here so it's alot less teasin' and alot more ease-in!

The 3rd track is as important to Pablo and Shoey as it is to Moodymann, so 'Funky Rump (Tribute To MCA)' pays tribute to the sadly deceased Beastie Boy by looping up some busy jazz drums from 'Paul's Boutique' and splicing it with a very fitting in concert tribute from the one and only Flava Flav of Public Enemy. The full track, when it eventually arrives, is a relentless clav funk monster that just keeps going and going....

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

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

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

Limited to 300 copies.




It's been a while since we've heard a jam as bruising as Nonsense. Titles in techno often don't tell you much, and we'd go as far as to say this badboy is really more no-nonsense. This one will blow the stack, with cavernous kicks, down-the-line 909 claps and hats, and good old fashioned warehouse bells. Decision is a jackin factory floor jam. Spitting percussion that's reverbed to the roof, combines with a one-note synth and pacy high-end work for a full-on strobe light track. Myk Derill goes DIY on his re-work of Nonsense, bringing more detailed rhythm work and creating a dynamic jam that ebbs and flows, constantly moving in and out of focus. Polishing off this belting release is Imprinted - an atmospheric sci-fi rhythm reminiscent of Convexion or even Monolake - a very nice little surprise on an otherwise heads-down release.

Great follow up of Dolly Dubs 01! Once again Staffan Lindberg is delivering. His nice & smooth 'The Orbit' is a great & optimistic club track that will have the sun shine on any floor, with the mighty Trevino remix adding a slightly rough edge to the original version. But don't let the easy-going fool you! The b-side dives in deeper territories with 'Y2K' that reminds a bit of early Kevin Saunderson works, and 'Feel like dancing', which is a proper sexy house burner for the morning hours. Wonderful & diverse release.

Always Stays The King This ist he Vinyl edition of Tigerskin's Album - All Those Goodbyes. This special Vinyl features 3 exclusive tracks that are not on the CD version of the Album. - The Essence', - Out of Breath' and - The King always stays the King' are three club bangers that will destroy your floor. As part of this 2LP we also added the strongest dancefloor titles from the CD. Main Info Album : After being the main artist on Dirt Crew Recordings for over seven years and with a staggering 13 EPs in that period either solo or with his buddy Till von Sein, the Berlin based Alexander Krüger has finally put together a full artist album for the Dirt Crew team. The album also features various collaborations featuring established artists such as Ulrich Schnauss, Eddie Richards and of course Till (all titans in their respective fields of 'electronica', 'techno and 'house') plus new producers and vocalists that Alexander has been working with such as The Lazarusman, Sebastian Oehlschlegel and Uffe.Alexander Krüger is one of Germany's most consistent producers and has a huge release list on Discogs ranging from the mid nineties when he started out as Korsakow and Dub Taylor on classic labels like Force Tracks, Müller and Raum Musik. The output of this man is enormous, not only solo under his 3 monikers but also with fellow producers he works with, most prominently the work he does with DJ Phonique. It has also been nine years since his last 'real' album on Resopal Schallware back in 2004 so 'All Those Goodbyes' comes as a welcome relief for Tiger fans. On the album you will find 14 tracks that reflect a broad variety

The funk king of Sweden is back! After having major success in the 1990s, selling hundreds of thousands of records all over the world and touring with the likes of Tina Turner, Paulo Mendonca returns with 'Does Anybody Wanna Funk'



In the early 1990s Mendonca released three chart-topping albums. Now, his first full length release for eighteen years is easily identifiable by his signature guitar sound and funky grooves, the intense playing and strong melodies topped off with tongue-in-cheek lyrics.



The vinyl version of the album includes two exclusive tracks that are not on the CD version plus a download code for a high resolution 24 bit/96 KHz digital download.
Tracks: BBB / Me and My Friends / Yeah Yeah Yeah / Birds and the Bees / Heaven / Diving In (exclusive to the vinyl version) / 21 Century / On Top / Music is the Power / Honey / Doggystyle / Someone's Lover (exclusive to vinyl version)

Soul Print Recordings is proud to present their first ever vinyl release. 4 excellent deep tracks pressed on a slice of 12' black gold which features tracks by Fil Lavin & DJP, Petkovski & Akioki and reworks by the mighty Deep Space Orchestra and Liverpool based Andy Ash.
On the A side we find an infectious disco tainted classic deephouse groove called ''Hear Me'' by the likes of Fil Lavin & DJP. Excellent uplifting grooves which are smartly complimented by some subtle sample work. For the A2' Andy Ash is on remix duties. The rework contains a more nervous and elecronic vibe with flipped drums to a more contemporary electroish 80s vibe but still maintains the signature chord sounds of the original effort.
Label founder Petkovski opens the B side together with longtime label collaborator Akioki on their spiritual dancefloor smasher ''Think''. Again some catchy deep chords are subtly placed over balanced drums to uphold the moving vocal sample that lies on top.
The B2 brings us a Deep Space Orchestra rework of Petkovski and Akioki's ''think''.
Like you'd expect from the british duo, a more atmospheric yet staggering vibe has been created, focussing on the electronic bits of the original work a top notch DSO remix has been delivered which is perfect to close down an excellent and very balanced debut 12''.

Special Remarks: 12'' EP in 3mm spine sleeve with download card included.



1978 This EP is an extract from the Cosmic Machine LP compilation to be released on October, the 14th. The first track, Spirit, an Uncle O remix, originally released on Frederic Mercier's "Pacific" in 1978, synthesized on its own the whole concept of Cosmic Machine. Track 2, "Motel show" is a Pierre Bachelet remix (from the original soundtrack of "le dernier amant", also released in 1978). This mix is a dancefloor version by DJ Prins Thomas,famous space disco Prince from Norway (Lindström, Todd Terje...). The Cosmic Machine LP gathers stars (such as Cerrone, Juvet, Jarre, Marouani, Bachelet and even Gainsbourg with a rare proto techno track), talented pionneers (De Roubaix, Estardy, Massiera, Fèvre or Perrey) and even shooting stars (such as Rocket Men, Quartz, Chris Craft, Video Liszt, Milways...). Cosmic Machine combines all the major and inspired individualities that gave birth to the early 70's electro galaxy.

- Turn Me On' by Jay W. McGee is the third release in a series of sought after boogie, disco and modern soul re-issues on Légère Recordings. The original 12inch vinyl single appeared on the tiny Canadian Indie label Love Productions in 1980 and is immensely hard to find these days.

- Turn Me On' is an unusual production for its time, grooving along unbelievably deep in a spartanic arrangement, and fuelled by vocals which are not too far away from Sylvester's iconic style of mixing soul, disco, funk and jazz.


Jay W. McGee has a strong opinion about disco music: - When disco came out, it had its own way of reaching people's hearts too. Being in a club, you know, it's escapism, like with soul music. Soul is addressing everyday life problems, disco is about how to forget and enjoy yourself. They each have their own unique place. I saw people railing on doing disco because they didn't understand the seriousness of it,' Jay W. McGee explains about - Turn Me On' when he officially commissioned this re-release: - The discrimination of disco was in reality a discrimination against black music.'

- Your Love', the flipside of this 12inch single, is an exciting ballad on the B-side and a surprise in itself. Both tracks feature a great combination of talents. Wayne Jackson, the trumpet player on - Turn Me On', played on Rick James' album 'Bustin' Out On L Seven', in the late Seventies. Glenn Johanson was the engineer on - Your Love'. He became Eddy Grant's house engineer at his studio in Barbados right after he mixed this tune. But there is also a little drama in the story. When Jay W. McGee returned to the studio where he recorded, "Turn Me On" he found out that the original version of - Turn Me On' was erased by another technician: - Everybody said it could have been a hit, and maybe the guy did it on purpose.' Nevertheless he recorded the song again with a now different arrangement and instrumentation. Maybe that is the reason why the production is so unique and also so different to - Your Love'.

Jay W. McGee could have been a solo artist on Philadelphia International Records, back in 1969, when he met Leon Huff of Gamble & Huff, in Philly for an audition, just before they recorded - Me And Mrs. Jones', - Bad Luck' and - Backstabbers' with Billy Paul, Harold Melvin and The O'Jays. They offered him a contract, but he refused, because he came with his whole group from Flint, Michigan and they wanted to be signed collectively.

Jay W. McGee kept just one of the original 12inches in his home: - Both songs were a profession of love to my wife. We are now married for 34 years.' Now if this ain't love, we don't know....'

Steve Lee's (The Project Club) ABOVE MACHINE label returns after 003's massive 'Love Disguise' from Vendetta Suite

This fourth release comes courtesy of acclaimed Italian duo Almunia
Their celebrated output through Paul 'Mudd' Murphy's Claremont56 label, including the recent superb Pulsar LP has seen the their blissful & uplifting Balearic sound
expand and evolve beautifully.



One Time is a gorgeous slice of the same, and conjurs up gentle sea breezes and long summer days perfectly


The ever essential Craig Bratley, whose All Ears distributed Magic Feet label has provided some of our best output, alongside recent hit 'Obsession' on Weatherall's Bird Scarer imprint takes charge on the flipside here.
Craig takes the melodic motif's and vocal parts and weaves a trademark synthed out & acidic chugger of epic proportions. Sure to be belting out across the Adriatic this summer
Andrew Clarke - whose been making an impact with a selection of cuts on labels like Audio Parallax & Chopshop - wraps it all up with a truly amazing rework, managing to retain all the stunning musicality of the original, but elevating the elements to euphoric new heights.

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

Vinyl Exclusive Version Vidis brought us a handful of hidden gems last year. A selection showcasing the under-estimated and often overlooked Lithuanian House scene. After months of sifting and sorting, Vidis came to what has become 'Silence Please!' - a 14-track compilation that surprised many and turned more than a few heads with a unique taste of Vilnius House. We now present a very special vinyl edition - featuring tracks hand-picked by Vidis, tracks he felt deserved a wax debut. Vital Sales Points: - A sampler showcasing some of the nicest tracks featured on Silence Please! compilation - Includes dance floor destroyer Mario & Vidis - Warung (Downtown Party Network Remix) - All the tracks have never been released on vinyl before

[B] A2 | Mario & Vidis - Warung (Downtown Party Network Remix)

endlich: mit bittersweet legt marek hemmann sein zweites Soloalbum auf Freude am Tanzen vor. ein großer Schritt nach der letzten duo-Veröffentlichung unter dem namen marian, und in seiner weiter gedachten Pop-klangsprache ganz eindeutig: ein echter hemmann. zehn Tracks, schnörkellos und vorwärtsdrängend, nach hemmann-manier diffe- renziert abgemischt und lakonisch betitelt durch knappe wortmarken. der feine elektronische Sound wird immer wieder aufgebrochen durch den einsatz knarzig-poppiger Synthies, eingespielt mit einem augenscheinlich stark vermehrten maschinenpark. diese warmen, bassigen Sounds sind der stete begleiter durch das album, und führen die analoge Vergangenheit in die digitale zukunft. denn sie sind nicht mittelpunkt, sondern Teil eines erdigen bodens, auf dem alle Songs stehen. es gibt kaum einen Song, der in seinem Stil dem anderen gleicht, das album führt seine hörer von tiefem house über knackige Tanzflächenkracher und ambientsongs bis hin zu frühlingshaften romanzen mit gitarrensamples. Schon auf seinen bisherigen Veröffentlichungen offenbarte sich hemmann immer ganz einfach als großer liebhaber elektronischer musik mit einem feinen händchen für vielschichtige arrangements und den gewissen schwebenden, ins unendliche weisenden Sound. Ja, er ist gewiss der große romantiker unter den elektro-musikern, und er weiß seine musikalischen Talente auch dementsprechend einzusetzen. und so ist auch bittersweet wieder solch ein schönes, geheimnisvolles wesen zwischen Tanzfläche und balkon, zwischen süßem Sonnenaufgang und energiegeladener club-nacht.

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

Sein letztes richtiges Release als KAITO stammt aus
dem Jahr 2010 ('And That Was The Way'), drum sind
wir umso glücklicher die Rückkehr von Hiroshi
Watanabe anzukündigen, einem der absolut
ebenswertesten Produzenten im KOMPAKT-Stall.
Für BEHIND MY LIFE hat der erfahrene Musiker
einen Sound subtil an eine sich rapide verändernde
Klublandschaft angepasst, nicht ohne die zeitlosen
Qualitäten seiner früheren Werke sorgfältig
herauszuarbeiten.

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.
*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.
*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.
*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

Character has many forms. Musical interests too.

Mr. Mau shows his deeper side in this very diverse EP, translated in three brilliant tracks.

Inspired by many other artists, he managed combine the hardware and software into a must have EP for people who want to experience the essence of the style of life that's called techno: a broad way of interpretation and translating feelings into music.

For this special EP, Mau invited one of the most underestimated, yet well-known and very respected artists of Portugal: michaelangelo, the man behind Labrynth Records.

What many describe as a Aphex Twin like touch to it, "Black" is a piece of patience, feelings and excitement captured in an instrumental track that is strongly recommended to be played in a laid-back modus, but also can be used as a DJ tool in darker sets.
michaelangelo takes "Black" to a whole other level. Well-known for his very atmospheric dark drones inspired techno, m surprises again with his creative approach with swirling glitches and an in your face off-beat kick. A must have in your collection!

Are you more into the minimal side of techno With a twisted side to it Than "Lion" is the track for you!
The subtile power of the TR-909 machine combined with atmospheric dark touched stabs and leads.

"Walking" is definitely one of the more deeper tracks of this album.
With it's lounge like jazzy feel to it, Mau manages to capture the beauty of electronic music that doesn't leave anyone untouched.

April 2013 sees the release of Norwegian Disco Viking Rune Linbaek's latest long player, on his Drum Island label

Its his first album since the 2000 release (Sondag) on Paper Recordings RePap offshoot

Last year's single 'Wonder' feat Kurt Maloo on the label was a day one sell out here at All Ears and marked a significant maturing of Rune's trademark sound.
The influence of Norway on the world's forward thinking Disco scene & beyond is more than evident, with countrymen like Todd Terje, Prins Thomas and Hans Peter Lindstrom
all leading the charge for years now. The creative cauldron of the infamous 'club in a public toilet' Skansen has much to answer for !

Krasava is a very much vocal led project, with a cast of featured vocalists which includes Norwegian popstar Anneli Drecker alongside recent collaborator Øyvind Blikstad.
The album is steeped in Norwegian folklore, visually and musically and the gentle lilt of the Norse/Balearic sound, sits comfortably alongside more Cosmic flavours, Rock and beautifully crafted pop.

Almost exactly three years after the first, Redshape has readied his second Red Pack, due for co release by his own Present imprint alongside his frequent Dutch home, Delsin, in June.
Whilst the world is still enjoying the German's latest album "Square", the man himself has typically moved on once more. On Red Pack II he offers up six tracks new of hugely atmospheric and romantically industrial techno across two pieces of vinyl.

First up, 'Disco Marauder' has raw, jangling beats, traumatised vocal cries and plenty of sci-fi ambiance all coalescing into a filmic techno tapestry, before 'Path Dub' goes deeper and more streamlined with rattling claps peeling off taught synth cables in hypnotic fashion. The same track also comes in an original version, which is a much more jagged, roughshod and textured affair.

'The Source' is a track slowed to a crawl that almost seems to want to collapse under its own weight. Machines gurgle and gargle, the beats march on with a heavy heart and widescreen synths all that ever present sense of cinematism that makes Redshape such a unique producer.

Standout track 'Daft Mode' features a beautiful Reese bassline and rich layers of classic Detroit chords of the sort Inner City once championed. Redshape then pairs them with slicing percussion and loose limbed but tough edged beats and lets them roll on to a blissfully emotive oblivion... Fans of 'Mucky Bones' from the first Red Pack might see this track as a close relative. Last track 'Bulp Head' is one of Redshape's more euphoric tracks thanks to the glistening and pixelated melodies which rise up and up through choppy, metallic percussion. It closes out another release from Redshape that offers six more classic pieces that are as idiosyncratic as they innovative..

Superb raggatek tunes here... with a massive kick, very interesting... Meeting with some gypsy techno... And also some acid hardfloor tribekiller, full of vitality and life and changes... And some realy good ideas. Loads of rupture and different structures mixed together into each tunes. A very interesting realese, coming from the Psychoquake tribe ! FAT !

with RV8, the osaka-based producer and musician AOKI takamasa continues his long-
term project that focuses on the modulation of rhythms and grooves. it began with his frst ep
‚rhythm variations' in 2009, released as part three of the unun-series. besides his collaboration
with raster-noton, he released records on several labels like commmons, progressive form
and op.disc, produced remixes for well-known musicians like ryuichi sakamoto or yoshihiro
hanno and played performances at, for example, elektra/montreal and club transmediale/
berlin, all in all making him a renowned producer in japan and beyond.
starting with a frework of bleeps and bops, already the very frst minutes of his new
record reveal aoki's preference for vibrating beats and likewise his playful approach to music,
generating a sound that is aiming at the dance foor.
like the frst ones, almost all tracks of the record are characterized by a constant modulation
of chords and lines that sometimes appears somehow hyperactive, but nevertheless results
in a natural fow that perfectly refects AOKI's laid-back attitude combined with his will to
produce danceable and funky music.
the fuent arrangement is only interrupted by the third track which forms a caesura by
being more reduced and slower. in contrast to this, the following tracks present a faster
tempo and an increased intensity; and whereas the frst tracks refect downbeat and r'n'b
infuences due to their broken beats and chunky sound, the later songs are characterized by
a more sleek and technoid style, incorporating dribbling basses, clappy sounding snares and
modulated voice snippets.
although all of the musical components are constantly broken down, modulated, and
rearranged, the overall sound of the record is dense and compact, featuring a groove made
up of numerous elements that are complexly intertwined. the eight tracks of the record ft
seamlessly together and create a composition that nearly functions like a dj set.
the album was mastered by yoshinori sunahara. needless to say that RV8 will be released
as cd and lp.
[A] a1 | rhythm variation 02 [B] a2 | rhythm variation 04 [C] a3 | rhythm variation 05 [D] b1 | rhythm variation 06 [E] b2 | rhythm variation 07

MCDE proudly presents the debut works of 22 year-old Canadian, Michael Gracioppo. Featuring a remix from Fred P (Mule / Underground Quality)..very limited edition.
The label's first 10-inch is headed by My So-Called Friends-the Montrealers deeply personal ode to an over-indulgent past lover.

The fluid drum work and violent bass line sit alongside the words of a punkesque inspired vocal sample. My So-Called Friends tells the story of a sincere and vulnerable young woman facing an inner battle between excessiveness and self-restraint. These drugs they are making me so sad I can't stop taking them.

A2 is a testament of Gracioppo's focus on maintaining a balance between songwriting and sound design.
Sailing unpredictably back and forth in tempo, A2 has been left untitled so as not to taint the piece.

Enlisted on remix duties, the always excellent Fred P flawlessly Reshapes Gracioppo's A1 into a hymn suited for the early morning comedowns.
Fred Ps vibrant pads resonate up and down in frequency and wrap the wavering vocal in warmth and comfort.

As if our recent releases hadn't already been spreading the sound of Circus Company into new and exciting places, now our very own silver-tongued enchanter JAW emerges with the first details of his own autonomous project. Somewhere in between the electronic drive of his day job in dOP and the folky, organic instrumentation of Les Fils Du Calvaire, JAW shares with us a new venture that has thrust him into the studio with Lebanese musician Kevork Keshishian. After a chance meeting on the streets of Beirut, the pair struck upon a creative buzz and so "Hazihi Laylaty" was born. Translated as "this is my night", the title references one of the most famous pieces sung by the celebrated Egyptian singer Umm Kalthoum in the early part of the twentieth century. The dusty crackles and haunting strings that begin "Hazihi Laylaty" instantly call to mind the mystery and allure of traditional Arabic music, and the track as a whole fuses this spirit with a subtle wielding of modern electronics to create a thoroughly moody piece of pop-noir. Paying full respect to the complexity and consideration of the original version, both The Sorry Entertainers and Soul Clap embark upon unusual approaches for their remixes, managing to enhance the electronic elements in the track through more prominent production without losing the core ambience of Jaw and Keshishian's creation. JAW has been quietly working on a solo project for many years whilst also engaged with the relentless demand of his life in dOP, and now finally the time has come for people to hear the first snapshot of this venture. Bringing together a vast array of people, singers and producers from all corners of music, JAW's voice provides the glue with which a brave and boundary-l

Walton returns with a strictly-limited EP to precede the release of his debut album 'Beyond'. This is a vinyl-only, once it's gone it's gone kind of release, just 300 copies available. 'Baby' is a brilliant and extreme mutation based around an R&B accapella, one that seems energised by R&B's avant-garde but danceable late '90s period. A hiccuping giggle over stuttering rusty engine stabs, and a so-stiff-it's-funky kick and and snare combination, make this a track that works brilliantly on the dance floor by sheer force of ideas and wildness. 'Can't You See's' widescreen ambience is held together by epic swelling chords, punctuated with rolling 8-bit spirals, trap-like bass, and snares. It's held together so tightly, it feels like it's going to 'drop' at any time, but prefers to just tease the listener in a state of excited suspense. Also included is an instrumental version of 'Baby'.

Struments Records starts 2013 launching Nuevo Dia EP, second release of the label from Barcelona. In this occasion the reference is signed by the Catalan duo Aster, which counts with high quality remixers such as Benjamin Damage and Dexter. Nuevo Dia, the homonymous topic that starts and gives name to this second reference Struments Records, backs seven minutes in which multiple and varied melodies of different natures mix up with rhythmic patterns coming from a dynamic bass and evoking feminine vocal samples. A cut treated with strong dynamism in which the allusion of movement is constant. In Placido Domingo an acid bass line goes along the minutes transforming into the main character. The theme goes on for five minutes at a slower pace responding to the classical patterns of acid-house, introducing initially percussive rhythms, followed by dynamic involving notes and ending with a fantastic melodic take-off. The remix brought by Dexter increases and decreases during seven minutes, converting the original melody into an easily adapting scale to the first hours of the night. Using vocal samples it gives a surrounding perspective and introduces a powerful bass perfectly suitable for this newer clubber version of Nuevo Dia. Benjamin Damage bends Nuevo Dia with frequencies and filters, darkening brief melodic spaces to introduce a powerful and raw drum which reveals a postindustrial background through the late hours of the night. The monotonic rhythms of this reconstruction include in itself a progression of a surrounding physical and mental dance.

All killer no filler on the new Legendary Sound Research release! We've got a split double A-side EP from The Saint Petersburg Disco Spin Club and head researcher of the label, The Legendary 1979 Orchestra.

SPDSC's 'Nightdriving' sounds like the soundtrack to an early 80s exploitation movie featuring crazy driving stunts! JKriv, of Deep & Disco fame, flips the track into a mid tempo piano driven stomper adding even more action to the scenes.

On the flip side, The Legendary 1979 Orchestra's 'Love Triangle Theme' is the actual soundtrack to the opening scene of the short horror film 'Matasari'. The track is moody and tensed but somehow liberating with its groovyness. Taking care of remix duties is analog veteran Ruf Dug. His take is reverby, atmospheric, sounding straight off a lost proto house tape.

Give the tracks a spin with the sun in your face or in a dark basement, you'll hear what they're meant for!

Raudive a.k.a. Oliver Ho heads home with two guilty dancefloor pleasures. Gritty surface, smoove bottom. For those damp, dimly lit cellar clubs: low ceilings, fog, smoke and all that. 'Ruins' runs a relentless groove against angular guitar overtones, blowing out the valves of its amplifier. Metal sheets, rusty strings, sweaty bodies. 'Visitor' is built on a naughty percussion sequence and is elevated by a morphed girl's inquiring voice straight out of a 1984 Shibuya version of Blade Runner. Kinky. Essential 2013.

*A pure slab of noise... a ruckus on vinyl! A limited edition piece of wax featuring remixes by the Circus Records superstars Funtcase & Genetix.

*Funtcase has been producing since being inspired by d&b as a kid growing up in Bournemouth. In 2009 he created his dubstep alias Funtcase and released his first single on 4:20 Records. The following year he signed with Circus Records and released the killa 'So Vexxed/Matress Punch'. He is also known for his standout remixes, including mixes for Plan B, Camo & Krooked, The Wideboys & Skizm.

*For this remix Passenger organised Spyda (Pendulum 'Black Tarantula'/Knife Party 'Fire Hive') back into the vocal booth to lay down some fresh vocals for the remix. A former Passenger vinyl buyer, Funtcase is no stranger to the sounds of the label and adds his own nod to its history by flipping some breakbeat twists and turns to proceedings to create what many are saying is his best remix to date!

*The flipside remix is from fellow Circus Records crew members and Bournemouth badmen Genetix. Following a similar path to Funtcase, Matt & Rich started off making d&b before switching the tempo and laying down some filth at 140. With regular appearances on the MistaJam's radio show, guest mixes on KissFm for Hatcha and Crazy D and remixes for the likes of Bassline Smith & Drumsound and Kelly Clarkson, to name a few, these guys are continuing a south coast tradition of bass noise and terror.

*With the label instructions to 'make it as heavy as you can, Genetix took the vocal of Sporty-O, recorded at DJ Lethal's (House Of Pain/Limp Biskit/La Coka Nostra) studio in LA back in 2007, and brought it up to speed with a track that flips from militant dubstep into some proper 808 trap biz.

Nach der Veröffentlichung seines hochgelobten Longplayers MANTASY KOMCD100 / KOM250) im letzten Jahr konnte KOMPAKT-Boss MICHAEL MAYER einige seiner
Lieblingskünstler dazu verpflichten, das Album-Material nach ihrem Gusto neu zu bearbeiten. MANTASY REMIXE 2, der mittlere Teil der Trilogie, präsentiert nun großartige Remixe der versierten Produzenten AGORIA, ROBAG WRUHME und WILL
SAUL & OCTOBER, die die Abenteuerlust der Originale kongenial weiterschreiben.

irst remix single cut from latest eddie c album "country city country". we invited two favorite new producers. one is italian edit master "marvin&guy". after the big success of their record on let's get lost, they are into more original production. their remix is simply killer for dancefloor. brightest hope from australia "tornado wallace" reconstructed original of kraut rock oriented tune to excellent psychedelic slow mo house. it's for the fan of quiet village or andrew weatherall. vol.2 of remix single with kza&young marco is coming very soon!

The bomb that should have dropped way back when. After a career spanning almost two decades DJ Overdose debuts on Creme with his first full length album, upon which we remark with carefully considered understatement: 'A veritable tour de resistance in film noir electronics, Bizarro World is a dank and dark alley made flesh. Overdose's heavy soulful beats and soundscapes snatch your dreams right from under you like a shadowy kleptomaniac, masterfully pairing melancholy and ennui with fear and voyeuristic tiger-lurking-in-the-bushes paranoia. So lock up your future plans or you might very well find yourself without any'. For those who don't know, DJ Overdose is one of the OG's of the La Haya underground, one half of Novamen and the other half of The Hasbeens with classic and sought after releases on Bunker, Viewlexx, Murder Capital, Clone and Strange Life to name a few. In his spare time he doubles as a hand model for Bruce Willis.

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

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

Brodanse´s 'Danse Club Records' returns with another 90`s New Jersey gem reworked for 2013 with remix duties this time going to Just Be, Lula Circus & Chubby Dubz ... Danse Club Records, the label started by DJ/production sibling duo Brodanse has made a sterling start so far with releases of classic 90`s US house cuts remixed by the likes of Matt Tolfrey, Oliver $, Moodymanc & Brodanse themselves.

The reaction has been outstanding at a time where there is an obvious embracing of all things nineties and DJs such as Danny Tenaglia, Maxxi Soundsytem, Seth Troxler, Huxley & Dusky have been queuing up to lend their backing. For their latest release Danse Club look once again to New Jerseys historic shores, this time picking up an old record from US soul house duo The Burrell Brothers and drafting in three hot production acts to rework this much loved tune.
To start the package we have the original "club dub" version, giving an insight into the records history with it`s mid nineties feel and production still standing up wonderfully.

The first of the remixes sees Crosstown Rebels and Get Physical artist Just Be AKA Matthew Bushwaka deliver his"Insomniac mix",
a bumping slice of underground house music that marries a bass driven groove, organic percussion and subtle melodic elements with snippets of the vocal to supreme effect.

Next up we have Italian production duo Lula Circus whose releases for the likes of Culprit and Noir have been creating quite a stir. Here they deliver a brilliant rework of "Non Stop" in the shape of a deep old school house workout that makes the most of the soulful vocals with its simplistic, hypnotic backing. With its timeless quality, this mix is certain to be mainstay in DJ boxes for months and years to come.

The penultimate version sees the excellent Chubby Dubz offer up an outstanding mix that cuts and pastes the original parts in a raw house style. Closing the package there is a bonus dub of Just Be`s Insomniac mix that rounds things off nicely. This is another winning package from the Danse-Club label and with original artist material from Brodanse in the pipeline alongside further remix packages there is much to look forward to.

New Chico Mann remix single ahead of his forthcoming full length album 'Magical Thinking' !
Featuring the sultry vocals of New York based Kendra Morris, the slinky and catchy album version of 'Same Old Clown' is joined here by deeper re-workings from USA DJ and re-edit king Kon (Kon & Amir, Nitetime), who provides both a vocal and dub remix as well as UK producer Linkwood, known in underground circles for his groundbreaking mix of future-boogie, house and detroit techno on Scotland's excellent Firecracker Recordings imprint.
Guitarist with the band Antibalas, multi instrumentalist and guitarist, Chico Mann (AKA Marcos Garcia) has in the past worked with the likes of TV On The Radio, The Roots and Dam Funk as well as remixing Little Dragon and Alice Russell amongst others.

The story of Bonobo is one that's become uncommon in contemporary music. There was no sudden, viral internet sensation, no one-off big hit, no abrupt, accidental alignment with the zeitgeist. Instead, over the course of four albums, myriad tours, singles, remixes and production work for other artists, he quietly but very definitely became one of the most important artists in electronic music. The hard work paid off, and culminated in 2010's 'Black Sands,' a masterful album that married Green's inimitable melodic genius and musicianship to bleeding edge electronics, bass and infectious drums.

After a year plus of touring the hypnotic, extended live versions of Black Sands, he finally found time last year to embed himself in his New York studio and write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. 'The North Borders' is a long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece.

It's also an album that shows just how far electronic music has come. Its richness of texture, emotive force and all round depth are facets found more often within, dare we say it, classical music. If there's a renaissance taking place within this scene, Simon Green could make a strong claim to being one of its key driving forces.

As with previous albums, The North Borders features a careful balance between vocal tracks and instrumentals, ensuring that the productions themselves get room to breathe and shine. When Green discovered that he and Erykah Badu shared a mutual appreciation for each other's work, he leapt at the chance to collaborate. The resultant 'Heaven for the Sinner' is one of the album's triumphs, a transcendental, incanted vocal masterclass married to a brilliant two-step glitch and a yearning melody.

NYC folk underdog Grey Reverend appears on album opener 'First Fires,' providing a raw, emotion-laid-bare growl that sets the tone for an album that's joyously unselfconscious. Bonobo has a long history of unearthing new talent, Black Sands having launched the solo career of guest vocalist Andreya Triana. The North Borders sees him do so once again. The startling, ethereal vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at. 'Transits' sees her vocal weave around a garage beat that's somehow fragile and purposeful all at once, a gradually emerging hook rising from the depths of the song.

'Emkay' is a stunning example of the album's marriage of addictive, urban-inflected drums to rise-and-swell melody that never fails to move the listener. Opening single 'Cirrus' sees a clockwork-precise rhythm drive a chiming, insistent melody that builds to one of the record's great emotional climaxes. This is where Green excels, he knows how to invest electronic music with immense feeling.

The North Borders - like all great records - is an album that demands to be listened to as such, a body of work with its own internal logic, themes and narrative arc. Bonobo's abilities are at an all time high, and The North Borders everything his growing army of fans will have hoped for - a sheer delight.

Starting out in 2001 as a mere compilation series to tie up some loose ends from our regulars, SPEICHER has since become a guarantee for vanguard dance sounds from all over the planet, allowing KOMPAKT to invite and support electronic artists that comfortably inhabit both the delicate and the more deliberate ends of the electronic music spectrum. For SPEICHER 74, best buddies RAINER WEICHHOLD and NAMITO unite under new monicker HICK HACK to bring you two utterly compelling cuts sure to beef up even the most demanding DJ set.

It's certainly not the first time that RAINER WEICHHOLD of Kling Klong fame and well-established groove connaisseur NAMITO collaborate on high-grade floor weaponry, but there's a strong argument to be made for HICK HACK being their finest work to date. You'll find all the audiophile finesse and spirited deepness you come to expect from the two producers, embedded in two exuberant tracks already pawing the ground in anticipation of their deployment.

Played by Pan Pot, Guy Gerber, Santé, Catz n Dogz, Kiki, Green Velvet, Super Flu, Andhim, Carlo Lio, Round Table Knights, Animal Trainer, Pirupa, Kaiserdisco, Tube & Berger...

Kavinsky is back with a first and long-awaited album, OutRun, available on February 25th. But before that, here is the first single, ProtoVision!

Red Sky Mix feat. STS (vinyl exclusive)
It was no easy job to tackle this epic instrumental. When he heard Sugar Tongue Slim's version of Nightcall last summer, Kavinsky knew he had found the man who could turn Protovision into gold. After burning up the underground rap scene for several years, STS is now one of the fastest rising artists around. He gave a big blow with this one and literally took Protovision to another dimension.

Boys Noize remix
Berlin's notorious producer put his hands on Protovision and turned it in into a nervous and elegant club hit. Get ready to rave on that sweaty bass and dark beat. 'If it's too loud, you're too old', they said

Blood Orange remix
Between producing tomorrow's pop talents (Solange, Sky Ferreira, Theophilus London) and working on his solo project Blood Orange, England's talent of note Devonté Hynes took the time to add his very own touch to Kavinsky's new release. Giving a fresh and girly feel to the original track, he delightfully transformed it into a groovy pop ballad.

Sébastien Tellier Version (vinyl exclusive)
Taste and simplicity is what it took to Tellier to create this version of Protovision ; highlighting hypnotic strings and heroic guitars, the French maestro offered a timeless reinterpetation of the original.

Repress!

FORMAT: DOUBLE 180 GRAM HEAVY WEIGHT VIRGIN VINYL PRESSINGS INCLUDES MIX CD AND HIGH QUALITY COVER ART PRINT
LIMITED EDITION 1000 COPIES WORLDWIDE

This classic late night tales release is now finally available on heavy weight double vinyl, released back in 2010 this edition has gone on to become one of the most successful albums in the series 12 year history, cut using the unique 'half speed' mastering technique's and pressed on virgin 180 gram vinyl this is the ultimate audiophile format, each beautifully pressed disc is housed in a special anti static inner sleeve and comes with a special 30cm cover art print and the package also includes the original CD mixed disc and 12 page booklet.
CD UNMIXED TRACKS (FULL REMASTERED VERSIONS)

When Henrik Schwarz heard the music from Johannes Brecht he knew now was the time to reactivate his label SUNDAY-MUSIC again that hasn't released a record inw quite a while now. Johannes is a wonderful musician that plays bass and keyboards and also writes music for orchestra. When a classically trained musician looks into electronic music and manages to bring together the best of both worlds the result can be very exciting. On this EP are 3 tracks that show his versatility and musicality. HOLLA is a beautiful deep monster with one of those touching synth lines that you don't want to ever stop, PEOPLE is a jacking house track that bursts of energy and BOB shows that Johannes also can leave his fingerprint in a more minimalistic environment.

Cadenza Records kick starts it's 10th year in the game with 'Hunter', a release that balances the warm and cinematic productions of Martin Patino's original mixes, with the dark and powerful remix by young upstart, Julien Bracht. With previous releases and remixes on labels such as Freerange, Suara, Trapez and Rotary Cocktail, Patino is carving out an expansive and eclectic deep house sound, and his talents are perfectly captured on this release. 'Your Lips, Underwater' is a track that's been bubbling under for many months, a percussive and melodic groove wrapped together with heavy analogue bass and teasing jazzy keys. Title track 'Hunter', featuring the vocals of Astrid Hald, is a powerful, brooding production. The house groove develops perfectly, with the melancholic vocal back dropped by the dramatic and haunting pianos and strings, evoking shades of Massive Attack production values. 'Hunter' is a stunning and very original piece. Cadenza's newest signing, Julien Bracht, supplies a remix of 'Hunter', offering up an all-together different shade to the original. Aptly titled the 'Darkmix', Bracht gets busy deconstructing and reconstructing, taking just mangled snippets of the vocal with swathes of rumbling, aquatic bass washing over the reverb soaked, drum heavy routine. Deadly!

Besinnliche Ballade oder turbulente Tanznummer Organische Klangfarben oder synthetische Brillanz Experimentelles Beat-Gefrickel oder gradliniger Rumms Die Canow EP ist alles. Und in ihrer Gesamtheit noch viel mehr. Der Titel Rope widmet sich voll und ganz dem melancholischen Lied der Sängerin, hintergründige Streicher und verträumte Ambient-Zitate scha en ein Gefühl von Filmmusik. Genau das greift auch der Mollono.Bass Remix auf, jedoch ist die Handlung seines Drehbuchs von den Trommeln ferner Länder und dem nächtlichen Reiz einer exotischen Metropole geprägt. Der Titel Dive atmet ebenfalls durch die ergreifende Ausdruckskraft jener Stimme, hier kommen gebrochene Beats dazu, die sich mehr und mehr gerade ausrichten und eine unterschwellig stimulierende Note erzeugen. Inspiriert von diesem subtilen Aufbau präsentiert Mollono.Bass eine Hauptzeit-taugliche Überarbeitung, treibender Groove und schnittige Percussions holen den Zuhörer vom einleitenden Gesangspart ab und tragen ihn dann hinaus in die hypnotischen Weiten des Klangraums.

REPRESSED !!
Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic Circle 1. A full round kick and jack style upbeats are all that's necessary to support the deep, modulated synth lines that travel through lush plates of reverb. Alberto Pascual hits a homerun with his remix that will move any club, festival, or warehouse party. Project 313's remix supplies moving synth lines are stripped down and replaced with driving rhythms and pulsating bass making this a superb techno offering. The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms complimented by science- fictionesque stabs and pounding bass.

The 'Circle 2' EP is an essential piece of Detroit minimalism. Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic 'Circle 1'.

The EP starts off with Mutate's 'Circle 2' (Machined) original. A full round kick and jack style upbeats are all that are necessary to support the deep, modulated synth lines
that travel through lush plates of reverb, creating an atmosphere perfect for any techno desire from dance floor, to living room, to headphones.

Alberto Pascual hits a homerun with a remix that will move any club, festival, or warehouse party. Big room percussion, moving sub bass, and funky rim shots compliment the dark synths from the original.

Project 313's remix delivers with an interpretation that celebrates the true spirit of the original. Moving synth lines are stripped down and replaced with driving rhythms and pulsating bass, making this a superb techno offering.

The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms, complimented by science-fictionesque stabs and pounding bass.



DJ's Supporting release:


A.Trebor, Alberto Pascual, Altstadt Echo, Angel Alanis, Anthony Jimenez, Audio Injection , Brendon Moeller, Bruno Ledesma, Chris Liebing, Claude Young, Dadub, Daegon, DCibel, Developer, Drumcell, DVS1, Erphun, Exium - Hector, Exium - Valentin, Felix Lorusso, Hyperactive, Jeff Derringer, Joachim Spieth, Joel Morgan, Justin James, MADA Cedric, Mas Teeveh, Material Object, Measure Divide, Memnok , Monocraft, Morgan Thomas, Octave, Onoffon, Project 313, Rene Walther, Ricardo Garduno, Sigha, Sone, Submerge, Tommy Four Seven, Tony Kasper

Alex Niggemann's 2012-defining long player 'Paranoid Funk' dropped in June to a rapturous response from DJs, dancers and home listeners alike. Here, Poker Flat Recordings revisits some of the exceptional highlights of that record, and deliver a remix package sure to be as equally sought-after by those in the know. 'Paranoid Funk' saw the Berlin resident explore a variety of grooves and textures, an experiment that won him many new admirers and a great deal of critical acclaim. Here, some of the hottest remix talent in the scene get their hands on the originals and twist them into new shapes. Following on from releases on Cocoon, Kling Klong, Circle and two strong EPs on Poker Flat ("Dinosaurs' and 'This") renowned producers Alex Flatner and LOPAZZ take on 'Don't Wait' and drop a growling, main room monster that will standout in any set. Francys, the young Italian making quiet a name for himself on the underground house and techno circuit, lends his skills to 'Back 2 Basics feat. Benji' - channeling the spirit of the early 90s into seven ecstatic minutes. Next up is Salvatore Freda - the highly respected Swiss DJ and producer who injects Niggemann's 'I Don't Care' with a narcotic groove that sits somewhere between Detroit and Berlin - the dubbed out vocals adding an element of otherworldliness that work in perfect compliment to the track's twisted (paranoid) funk. Berlin's own Andre Lodemann picks out 'Lovers' for his excursion, a deep bomb that grows and grows around an exceptional vocal from John Rydell - this is one for the very late nights or early mornings. What is clear from this release is that Alex Niggemann's star continues to rise - the classical pianist turned producer and DJ extraordinaire is moving on to the next phase of his career - and with the slew of outstanding releases to his name already, who is to say where that could lead. Tracklist:

Diva is a project which explores the outer regions of techno's psyche - combining the trippy sensuality of Chris & Cosey with the brutalist analogue aesthetic of the likes of Robert Hood or Liasons Dangereuses.


Inspired by the vocal histrionics of strobe lit sirens such as Loleatta Holloway and Jocelyn Brown, Diva calls on the protean roots of basement club music. Lead track 'Paris Stabbing' is a stunning excursion into motor city madness, abstracted disco vocals clash with a broken digi-arpeggio and hooverish bass break down, whilst the flip side 'But I've Never' imposes a detuned synth siren over an industrial bass sequence and sp1200 piano stabs to eerie effect. Also included is the 'Paris Stabbing (Beats)' which pares down the original, adding detuned melodic percussion into a minimalist after hours tool.

Mario & Vidis, the top Lithuanian House duo, is back with a real treat. A solid remix package to follow up the original release of their perfect-set-closing track of summer 2012. Even though all ticking at the same tempo four different remixes and remixers on the plate represent a wide spectrum of moods and styles. From Garage and Bass infected sounds of up and coming Lithuanian producer Darius Vaikas, via Miami Bass rooted Dub version of steady groovin' American Danny Daze, to golden French Touch era reminiscent slick grooves of German combo Trickski, and summery New Disco vibes of two Lithuanian comrades from Downtown Party Network.

Newly established music connection House is OK from Frankfurt and Zagreb is raising the roof with the upcoming We Make Music Vol. 1 release. Get into the party mode with Janis, Oliver Achatz, Homeboy and The Citizen's Band this December. We Make Music opens with JANIS 'Mind Made Up'; a reminder of the early Frankfurt House sound with a scent of the Soylent Green Remixes from the late 90ties. A distorted Techno siren that evolves over a tough and jacking 909 groove and finally leads into blissful deepness. Homeboy, who got some attention with his playful Hypercolour release, brings out the edgier and deeper sound in 'Sedam'; a track based on the elements of classic House, whilst breaking the borders through its arrangement and musical form. The jazzy synth riff that locks to a hypnotic 7/4 groove is what makes this track a quality gem. Previous support on Jimpsters Freerange podcast shall suffice as evidence. The flip-side starts with Oliver Achatz' track: 'It Won't Last'. Oli, being the sentimental one in this joint, proves that House music can work with a very sensual touch. The smooth and warm use of analogue synth lines combined with suggestive vocal samples, are played over a steadily drifting rhythm. This compound, of an almost meditative nature, will provide the perfect atmosphere for early morning club hours. The Citizen's Band, one half of Arto Mwambe, closes the compilation with a remix of Janis' 'Mind Made Up". TCB shows that a track doesn't need much to get the crowd jumping and the party working, by returning the tune to its basic elements and making it a club banger for the 'heads". We Make Music Vol. 1 is only the first out of the three upcoming releases set to shake your solid house ground.

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

With the homespun warmth of his album still keeping us toasty as the temperature drops in the Northern hemisphere, Dave Aju offers up two choice cuts from Heirlooms to receive surgical treatment at the hands of dear friends and respected practitioners in our beloved corner of electronic music. The divine boogie-fuelled electro pop of 'Caller#7' stood out as one of the most flamboyant and earsnagging tracks on the album, so who better to entrust the remix to than Seth Troxler and Subb-an Seth of course is a long-time partner of Circus Company, stretching back to 2008 when he first recorded an EP for us with Patrick Russell. Subb-an may be a new cat to us, but there's no denying the impact he has made with his releases for some of the strongest tech house labels around. In the hands of this formidable duo, 'Caller#7' gets sharpened and honed into a peak-time floor-filler. The vocals from Dave and dOP's Jaw and that inimitable bassline remain intact, with the focus switched to boosting the rhythms that propel this party-starter while a disgruntled caller drops in on Radio KAJU to speak her mind like a true soul sister should. On the flipside, we take great pleasure in inviting the maverick Swede Axel Boman to work his magic on 'Away Away'. After exploding onto the scene in a flurry of hedonistic imagination and cheeky originality, Axel has charmed all that come before him with his releases and his Studio Barnhus label. He treats us to a glorious, soaring version of Dave's track that shuns shortening days and worsening weather, and instead places you at the top of a mountain as the sun rises in a cloudless sky, gently building but never peaking in a truly life-affirming concoction of house music for the heart.

The time has come. The funky nerd and knob-handler Erdbeerschnitzel alias Tim Keiling is releasing his first physical album on Mirau. The young producer, who has moved from his hometown of Mittelfischbach to Bonn, tapped into the lode of versatility early on, and has been extracting one surprise after another ever since. After single-handedly releasing a first digital album that was obviously bursting with ideas ('Pathetik Party', 2009), Erdbeerschnitzel rapidly made himself a name with first-class single releases in the following years on 3rd Strike Records, 4 Lux and Mirau - a name not easily forgotten. The release of the much-celebrated single 'To an End' on Mirau made clear that this was but the beginning of a work together. In the wake of anticipation created by the digital single 'Through the Night', the album 'Tender Leaf' is now available on beautifully packed double vinyl. 'Tender Leaf' is a collection of 12 wonderful tracks, splashing at the edges with Erdbeerschnitzel's signature deep, driving vibe throughout the entire album, pulling us into a pool of swinging, iridescent oomph. Each elaborate audio-bouquet is full of spirit. Sometimes weirdly romantic and introverted, then breaking out into raucous assemblage, flaunting sonar reverb. Keiling's production makes these gems sound like an essence of all the music around us today, which calls out to us in echoing vocal traces. In 'The Mattress Excursions', guest singer 'The Drifter' steers his soulful voice through the escalating arrangement and broken beats as we remember from early Jamie Lidell tracks. Erdbeerschnitzel frequently gives things a humorous turn, flashing us winks from the midst of the fray. His characteristic beat programming, clever and exulting, makes otherwise bland patterns swing into pulsating vivacity; picking up on contemporary styles and aesthetics, he re-animates sounds within his own parameters. Multifacet-flow

Unxpozd presents the third Dj Aakmael project - Breathe Deeper, which is a testament to Aak's amazing and captivating style of house music.The main track Breathe Deep takes you back to the 'golden era' of house music, giving you that raw sound with Esq once again on vocals. Untitled 79, for those who love their music old-school and classic but fresh this is for you. With a phat deep bass, lush chords and keys throughout, this one is sure to please the deepest and most mature househeads. Lastly to close, Aakmael continues his dubb series with Dubb 2, continuing to pay homage to one of the sounds that caught his ears' attention so many years ago. This track is a little more trancy, very deep and has that meditative vibe all deep house heads look to escape to.

Aroy Dee's MOS Deep returns with a new EP from Italians Ksoul & Muteoscillator, both of whom have appeared on labels like Uzuri and Ksoul's own Kinda Soul with a gauzy, dense sound somewhere between techno, acid and full on electronica.
'Criminology' comes in two parts on the a-side: the first is a fizzing, almost impenetrable network of analogue lines with acid buried deep below sharp percussion and behind a mysterious little melody phrase, whilst the second features a different sort of acid: it's brighter and seems to twist and turn with a life of its own.The b-side is 'Aphrology' as edited by Aroy himself. The underlying vibe here is house, though a squealing world of ticking machines, squirming synths and jangling percussive rhythms make it a heady and intense listen.Finally, the same track appears in its original form where tumbling drums, bleeding acid and a steppers rhythm join the dots between many different worlds: the heady results are sure to make dancefloors go cerrrrazy.

Parkway Recordings is pleased to offer you the first taste from their sister company PARKWEST, a new home for the latest progressive dance & House music. In a market awash with 'cookie cutter' deep records, Parkwest aims to bring you House music with soul AND substance, fresh...but with no sell by date. In other words, records to cherish
For the first release we're excited to welcome the very talented LIBRAH to the label.
His first release 2BWU (To Be With You) is hypnotic and sensual music at its best, wearing those NJ / NY roots on its sleeve, we love it and are delighted to share it with you !

The second of two EPs from talented Californian newcomer, Tyler Friedman, has now arrived. A Night in the Woods EP starts of as a murky rhythmic experiment. When released of its bound, it transforms into a hailstorm of sound that builds in melodic intensity towards a final climax. This is scenic and brave electronic dancemusic that over and over again will capture the focused listener. On the b-side Rivet for sure push Tyler towards Berghain. But now the tool is somewhat different. Rivet transforms the cinematic original into a very dirty and dry party stomper.

Six artists remix the rich sound material from Sven Kacirek's LP 'Scarlet Pitch Dreams' (Pingipung 32, April 2012). Sven's original percussion recordings and his densely layered melodies invite for a rework which fo-cuses on the single elements.

RAWAX IS PROUD TO WELCOME MR. K-ALEXI SHELBY TO THE FAMILY!
Mr. K Alexi Shelby
Like a moth drawn to a flame, there is something utterly infectious about the music of Mr.K Alexi Shelby, better known as K-Alexi one of the founding fathers of house music direct from his home city of Chicago. Since the late 1980s, he has pioneered the true house sound, leading to a DH and production career spanning over 20 years, including collaborations with artists ranging from The Pet Shop Boys to Derrick May and from Larry Heard and Felix da Housecat to Will Smith, as well as gigs across the globe.
An impressionable young teenager, Mr.K Alexi Shelby developed friendships with Frankie Knuckles and Ron Hardy whilst attending seminal venues like The Warehouse and The Music Box in the mid 1980s. Being here at this embryonic stage of dance music culture, there were no rules or precedents, so K Alexi drew on a rich musical heritage that had seen him grow up in the 70s and 80s listening to Stevie Wonder, Prince, Curtis Mayfield and David Huff. Those roots continue to influence his music to this day.
It was under the moniker Risque III that Essence Of A Dream was released in 1987, firmly establishing the name of Mr.K Alexi Shelby amongst the most prominent of all house producers at the time. Moreover, those early tracks are still recognized to be the quintessential Chicago house sound. The rumbling and dark bass, smooth strings, incredible percussion and the spoken word poetic and erotic lyrical flow became the trademark for classic Chicago house and the template for everything else that followed. To reiterate, there was no template before this. This was the beginning.
This initial success has lead to Mr.K Alexi Shelby working with the leading names across the electronic music world and beyond. Collaborations and remixes for Chicago peers like Mike Dunn, Mr. Lee and Marshall Jefferson merely served as the springboard for Alexi to work with the best in the electronic scene, from Derrick May to Paul Johnson ,Ron Trent Dave Angel to Felix ad House Kat. Furthermore, his talents have also lead to him working with The Pet Shop Boys and Will Smith.
On top of this, his tracks have appeared on compilations by artists varying from Laurent Garnier to DJ Hell, who used It's Me 2010 contribution to the Body Language series for Get Physical Music. Produced under the Club M.C.M. moniker, the 1991 EP It's Me/Club M.C.M. has been a frequent selection for compilations for 20 years and is rightly regarded as a true underground techno classic.

* 180 gram audiophile vinyl
* Gatefold sleeve

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

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

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

Alftavatn is Thomalla.s second EP release on Berlin-based Techno-label Krakatau Records. The tracks captivate instantly and still surprise with imaginative variety, sudden shifts and dazzling timbre. 23 year-old Thomalla was featured as a co-musician on Bodi Bill's European ›What‹-Tour in 2011/12 and recently started playing live-shows on his own. His tracks unite artistic and dancefloor-compatible appeal, which he was also able to show during last year's visit of the Red Bull Music Academy in Madrid. The Alftavatn EP articulates his forward-looking interpretation of electronic music, embedded in references of his own eclectic education. Techno without thought control.

Next up in the Delsin house series is a man who's been perfecting it for years - Düsseldorf's Andy Vaz. The boss of Yore and Background Records, Vaz has released two full lengths and many EPs to date, always exploring a heartfelt brand of electronica that draws on house, techno, Detroit and Chicago in equal measure.

Here he serves up two versions of the same track - 'Don't Lose Your Mind'. Both feature the sweet vocal stylings of Niko Marks and the first, the Soul Version, is all ditty, bouncy chords, floating, summery saxophone lines and warm, effusive synths.

The second House Dub mix is a little sharper - the claps cut through the soupy sonics like a knife and as a result the groove has a more urgent bite. Still stuffed with plenty of human loveliness, though, both tracks are surely set for many spins this summer given their classy feel good vibes.

Ein sommerlicher Klanghappen für Groove-Gourmets, eine augenzwinkernde Provokation für Schubladendenker: Rene Bourgeois breitet zum Tanz einen elektronischen Rhythmusteppich von minimaler, jedoch kurzweiliger Eleganz aus. Was darauf geschieht, gleicht aber eher einem klassischen Song. Elke Brauweiler verzaubert den Zuhörer nämlich mit ihrem lieblich- verträumten Gesang, der die Stimmung von "Je Danse" prägt. Nicht zu vergessen die unverkrampfte Heiterkeit der irgendwo zwischen Fahrstuhl- und Filmmusik klimpernden Melodie. Mollono.Bass trommelt seine organischen Percussion-Samples zusammen und treibt den Akzent des Originals subtil in Richtung Rhythmusanimation. Und der "Deep in the Club Mix" von Dan Caster und Rene Bourgeois erfüllt schließlich alle Erwartungen, die man an einen Titel mit solch einem Namen hat: Zwingender Groove, hypnotische Atmosphäre und dramatischer Aufbau.

Now, a year after he celebrated the success of his LP Good Morning Midnight, Niko Schwind ups the heat on Stil vor Talent with the versatile We are the Future EP that showcases a specatacular sonic progression while remaining true to what Niko does best: melodic house music. On 'All I Want', Niko lures you into a deep abyss aided by a straight groove and rapid vocal stutters until a swampy bassline, subtle piano melodies and a promiscuous female voice swallow you to the point of no return. Beautifully melancholic, yet floorfriendly, this A1 is bound to leave its mark on international dance floors. The same can certainly be said of 'We are the Future', a Schwind anthem that boils over with positive engery. While the excellent percussion highlights Niko's craftsmanship, Lil' Magdalene's jazzy voice should enchant even the biggest doubter. The flip side is equally rewarding: while a cheerful interplay between a piano-based groove, serious bass line, choppy vocals and one hell of a break invites us all to throw our hands in the air on ‚Fellow', the final track ‚Get Down' should literally take down the last man standing at the after hour due to dubby chords and wonky snyths. The future is looking bright this summer!

Played and Supported by Chris Liebing, DVS1, Marcel Fengler, Inigo Kennedy, Bas Mooy, Oscar Mulero, Truncate, Markus Suckut and more. Kike Pravda presents his first release on his own label called 'Senoid Recordings', including a remix of Ben Sims. The vinyl starts with the track 'Exalt' .It includes a Roland 909 very processed, aggressive and distorted sound until the end, accompanied by a sequence of a dark bassline and dynamic,which Kike Pravda takes it to the limit of its frequencies in constant evolution.A track that makes it the letter of introduction of Senoid. In B side, Ben Sims remix 'Scared' to the most pure style of Mr Ben. Hi-hats unstoppable, unmistakable grooves, giving back to the sounds of the original, essential for its most faithful followers. Closes the record the original version of 'Scared', a continuous arpeggio with an accompaniment of a 909 ride pure, brilliant, subtle.Scared evolves from beginning to end, with touches of dark, analogic, atmospheres and glitches, which turns it into a space trip.

Spring is here. It's the time for lightly dressed easiness. It's the time for big emotions. And when it comes to music, it's the time for Acker-sound! Matching the outbreak of the open air season, it comes in the form of extra laid-back Dub Techno. The "Ganja Tune" from English producer Robot Needs Oil moves somewhere between casual dance steps and relaxed hip swing, sunny guitar play creates a warm summer vibe. Mollono.Bass bangs the kick drum a little louder, arranges a bouncing groove based on catchy offbeat chords, and inserts the fluffy sound of a transverse flute. In another version, he additionally involves the Latin charm of singer Ava. Finally the last track on this EP comes with dubby delay sounds, a Jamaican-flavoured vocal sample and smoky beats: "Pull Up" by Robot Needs Oil is a musical invitation for inspired mindbody relaxation.

Martin Eyerer needs little introduction: a label owner, mastering wizard, radioshow producer with a djing and producing career that spans along 20 years. We are very proud to have him releasing on Metroline Limited. After a mutual appreciation that grew stronger after Martin started supporting a few Metroline and Retrometro tracks on his DJ sets and radio shows, a remix request was followed by the delivery of a track: The Coronator.

freshly repressed!
Leisure System, the collective, label and famed Berghain club night of four years standing, is back with their third release from co-founder and resident, Sam Barker. Known for its genre-defiant lineups, Leisure System's quarterly residency has consistently brought together artists with varying styles. Flying Lotus, Autechre, Afrika Hitech, Jackmaster, Surgeon, Jimmy Edgar, Blawan, 808 State, Dopplereffekt, Clark, Machinedrum, Surgeon, Venetian Snares, Objekt and Egyptian Lover have all graced the decks, showing off the collective's commitment to the exploration of new and experimental sounds in EDM. The development of the label, and now this release from Barker, is no exception. After discovering computers and raves in the late '90s, Barker began making tracks at age 13, building up a sizable collection of vintage analogue synths, paving the way for his future solo work and collaborations with artists like Tim Exile, Clark, Shitmat, Scotch Egg, The Field, Leafcutter John and Jimmy Edgar. Shortly after his 2007 move to Berlin, Barker began collaborating with fellow Berghain resident nd_baumecker, resulting in their ongoing project Barker & Baumecker. Their first EP 'Candyflip', was released on Ostgut Ton in 2010, followed up by a live show tour throughout Europe. The duo is currently readying their second EP and have a long player due out in August 2012. For this new solo EP, mastered by electronic music legend Pole, Barker presents a creative three-track lesson in diversity and highlights Leisure System's ever-evolving aural curiosity. The opener and title track 'Like An Animal' is a number that builds and builds, quickly changing course and mutating into a percussive and texturized melting pot of sounds. Up next the hypnotic 'I Feel', which is filled with moody pads and syncopated breakbeat rhythms, paving the way for the mechanical, yet smooth half-step rhythm of 'Hot Lover'. Siimilar to the collective, this offering pushes boundaries and mirrors the progressive ideals of the collective. Just like Leisure System's first two 12's from Pixelord and Eprom in 2011, Barker's 'Like An Animal' EP is a clear statement of the label's simple and distinct commitment : to be a platform for timeless, thrilling and soulful dance music in the fields of house, techno and electronica, disregarding media hype and genre borders. In keeping with this clear sonic manifesto, Leisure System's design aesthetic is equally individual, with all vinyl releases housed in deluxe die-cut jackets.

Oh Holy Molar is the second album from UK trio Felix. The group produces a bewitching, minimal chamber pop that works as the perfect framework for singer/songwriter Lucinda Chua's oblique and emotionally immediate stories of superstition and searching for protection against bad omens.
*As a follow up to their debut You Are The One I Pick, the band return with a collection of songs with a sound stripped back to its very core. Something is said to have "teeth" when it has the ability to make an impact. This record certainly has "teeth", and sharp ones at that.
*" The album was recorded in a vast, spooky 1940s cinema in Nottingham, England, now converted into a studio. After recording was completed the band discovered that underneath the live room lay an abandoned Dental Laboratory. "Oh Holy Molar" indeed.
*" Since the release of the rst Felix album, pianist/vocalist Lucinda Chua, also an accomplished photographer, has been working on a number of projects, most recently with Wallpaper* in Detroit. Guitarist Chris Summerlin has been recording and touring with his new band Kogumaza. The group is completed with the recent addition of drummer Neil Turpin who, when not performing with Felix, can also be found touring the world with French composer Yann Tiersen.
press quotes for You Are the One I Pick
'It's a gateway into another headspace, one aglow with uncertain magic. As statements of romantic intent go, 'Death To Everyone But Us' must represent either the most  straightforward, honest distillation of the love song, or the creepiest.' BBC
'In Felix's world, everyday mundanities give rise to furtive explorations of human interaction and ineptitude in a manner as oppressive as it is oddly and honestly addictive.' Drowned in Sound
'The duo keep things refreshingly simple, with single strands of piano, guitar, and cello in quiet symmetry, leaving the listener ample room to savor Felix's knotty, enigmatic songcraft.' Pitchfork
'There is mystery and elegance in the marrow of this music, and I imagine this record will prove to stand the test of time, reserved to be pulled out for the perfect accompaniment to just the right brooding but whimsical mood.' Delusions of Adequacy
track list:
1.The Bells 2. Sunday Night 3. Oh Thee 73 4. Don't Look Back (It's Too Sad) 5. Hate Song 6.Oh Holy Molar 7. Blessing Part I 8. Blessing Part II 9. Rites 10. Who Will Pity the Poor Fool 11. Pretty Girls 12. Practising Magic 13. Little Biscuit

Up and away / To your journey to the sun / Drink your rocket juice / Fly away (Hey, Shooter).
High up in the skies, amongst the clouds, Rocket Juice & The Moon was born. Literally. It happened back in 2008, when Damon Albarn, Flea and Tony Allen convened on the same Lagos flight, to play and exchange musical ideas in that city as part of the Africa Express collective. Relishing a shared enthusiasm for one another's work, and bonding immediately, there and then the triumvirate laid down the blueprint for Rocket Juice.
Still, more than a year passed before conditions were set for three weeks together at Albarn's West London studio, recording and refining two-dozen startlingly out and deeply funky instrumental grooves. The next stage was to invite onboard some extremely talented friends, with further sessions in Dallas, New York, Chicago and Paris... Erykah Badu, no less, queen of contemporary soul. Three companions from Africa Express: Malian singer Fatoumata Diawara, whose debut album has topped World Music charts since its release last Autumn; her multi-talented compatriot Cheick Tidiane Seck, whose prodigious keyboardism has lit up releases by artists ranging from Youssou N'Dour to Hank Jones; the young, Ghanaian rapper M.anifest, quizzically existential, switching seamlessly between Twi and English. And the Hypnotic Brass Ensemble, long-time stalwarts in the Honest Jon's set-up — since one of the team discovered them busking near the shop in Portobello Road, on his lunchbreak — with a second album for the label due in May... Finally, the tracks were dispatched for mixing to Berlin, to be meticulously honed, polished and envenomed by Mark Ernestus, one half of the legendary Basic Channel and Rhythm & Sound partnerships.
The result is Rocket Juice & The Moon — out March 26, 2012, on Honest Jon's Records — a triumphant exploration and proliferation of kinetic Afro-funk rhythms: organic, exuberant, communal music-making, evidenced by the project's live debut on stage as part of the Honest Jon's Chop Up in late 2011, which hit London, Marseille, Dublin, and Cork to such great acclaim (witness the flurry of smart-phone film-clips uploaded in the days thereafter).
From the inaugural bars — that absurdly funky slice of instructional timekeeping, 1-2-3-4-5-6 — the liquid pulse of Fela Kuti's classic recordings drives the action through a suite of 18 shape-shifting compositions. The greatest drummer in the world has never sounded so good as he does here. His intricate cross-patterns jostle and lock with Flea's nimble, rumbling bass riffs. Joined by Seck on There and Extinguished — 'when you dispose of something burning, be sure it's out' — Albarn's keyboards spray synth fusillades up top, over, and under... splicing into the mess of wires running between the freaked Afro-disco of William Onyeabor and the space-jazz-moog of Sun Ra. The HBE brings extra intensity and drama to Leave-Taking — likewise Flea's trumpet to Rotary Connection — teasing out the haunting melody coiled in the mix.
Where the best of vintage Afrobeat sides sustained their concentrated energies over the course of sprawling, marathon jams, RJ & TM manages something altogether different: the group bottles the idiom into capsules of funk... and real songs. Beautifully buoyed by Erykah Badu's unmistakable vocals, Hey, Shooter brilliantly traverses metaphysical spaceways sans any semblance of noodling. Lolo and Follow-Fashion — featuring the open-hearted sensuality of Diawara's singing, M.anifest's quick, brawny science, and more brass blasts — play like its musical cousins or codas. Indeed, the album's shrewd sequencing creates the composite effect of tracks working both individually or within the context of an extended song-cycle.
The lovely ballad, Poison, is bittersweet and ruminative: 'If you're looking for love, beware the signs / They will paralyze you one by one / Poison, it will only break your heart.' Down-tempo and dubby, Check Out and Worries amplify the range of styles and moods. And by the time of Fatherless — a chugging Afro blues that evokes John Lee Hooker lost in Lagos, one gets the sneaking suspicion there's very little outside the reach of this collective's inventive musical grasp.
There is, in fact, a palpable openness pervading Rocket Juice & The Moon — the sense of a limber willingness to follow creative impulse — right down to how the group acquired its name. When Ogunajo Ademola — the Lagotian commissioned to do the album's cover artwork — dubbed his submission 'Rocket Juice & The Moon', it quickly morphed into the formal name of the project, like trying to hold onto mercury.
Surely, the stars above also approved.

With his sophomore album Ghost People appearing on 2011's end of the year charts for the likes of Mixmag (#6), Clash Magazine (#9), DJ Magazine (#9), Data Transmission (Album of the Year), Martyn returns to Brainfeeder to release a follow-up 12' this March.

The 12' leads with "Hello Darkness", previously unreleased and exclusive to the release, Martyn shuffles through a rhythmic bassline and feeling of, indeed, darkness from the very first beat. In typical Martyn fashion, the track skips its way through genre conventions, landing in a flux between 2-step, driving techno and old rave (the latter specifically heard in his ethereal and scaling upper melodies). "Hello Darkness" could lend itself to the rawest, grittiest warehouse, yet simultaneously breeds a subtle feeling of elation and release, and keeps the listener guessing with a variety of quirky sound collages.
It also features a remix of "Bauplan", Night Slugs bosses L-Vis 1990 and Bok Bok bringing the most sinister corners of London into their remix, with a heavy grime lean and a pervading feeling of tension. Erratic samples (sounds of a tweeting bird one moment, the cocking of a gun the next) appear in-between a snap beat, metallic stabs and an apocalyptic build-up of percussion and synths. Pulsing in and out of a highly volatile atmosphere, almost as if the track is alive and breathing, this "Bauplan" almost feels like an unrelated beast until Martyn's melody lines start to unfold halfway through the track.
To finish there is an exclusive remix of "We Are You In The Future", a favourite from the Ghost People LP amongst critics and DJs across the board. Techno's notorious man in the red mask - Redshape - steps up to create a deep and dark Detroit interpretation of Martyn's freewheeling, sci-fi-enhanced joyride. Laced with ominous vocal samples ('It may be an accidental side effect of the drug'), the future takes on a slightly more dystopian feel with Redshape's melancholic strings, unpredictable percussion builds and a lingering, creeping reinterpretation of the track's original melodies. A definitive nod to the epic work of Derrick May and Carl Craig, with a hint of Kenny Larkin's intricate builds.
"By the time the imitators catch up, he'll be light years ahead." DJ Mag

Speedcore Underground from la Foudre (No Tek), breakcore Hardcore electro from Middle M (a very nice and original track here !), Chilling Breakcore electronika from Dajhne (Kabal) and regular Amiga Hardcore style from Dark Side Klinykal... Superb and out of the comon fields.Full color printed sleeve.

Quickly making a name for himself both as a producer & a DJ, 'F D' aka Freddie Dixon is establishing himself as a force to be reckoned with! Having already released on labels such as Metalheadz, Critical, CIA & Vision, the future looks bright for the man and we're very excited to have him on board! A. BLUE SKY RESEARCH - A great mix of rough & smooth on this one here! Soft, warm pads build the tune up for the drop. Solid drums and pummeling bass keep the momentum going! Serious stabby dancefloor pressure! AA. STRIPPED - Very stripped down 'back to basics' drum & bass on this one, as the title suggests. A solid 2 step pattern keeps things going while razor sharp stabs keep the nervous vibe in line. Definitely one for the minimal heads who like it dirty!

Born to Die" follows Lana's first single "Video Games" which began its life online in July accompanied by a video created by Lana. Since then "Video Games" has amassed over 8 million hits and on release has hit i-tunes #1 position in 9 countries including the UK, Australia, Holland and France and is currently #1 in Germany. Also a massive critical smash, it has recently been hailed as the #2 track of the year by Q Magazine, with Q Magazine also awarding her the "Best New Thing" award at the Q Awards.
"Born to Die" is a suitably noir follow up to "Video Games" and is coming with an incredible video conceived by Lana and Directed by Woodkid. A Remix EP will also be released, including mixes from Damon Albarn, Woodkid and Clams Casino.
"Born to Die" the album is a collection of tracks about which Lana says "The songs I've written are an homage to true love and a tribute to living life on the wild side." Album tracks include "Million Dollar Man", "Off to The Races", "Blue Jeans" and "Carmen".

As the Album is sold out we now offer only the VERY LIMITED 12" DISCS of the album.

The EP's exorbitant success and it's makers constantly evolving sound brings their relationship into late summer 2011 as Cadenza announce their sixty seventh cut; the 'I Ching' solo EP from Felipe Venegas. The two track EP triggers with "I Ching" and its spell binding intro of thundering gong crashes and jangling bells, betraying an almost story like theme as sporadic tom's and intense brass melodies converse with one another intensely.

2024 Repress
Following the legendary first two, stoically super minimal records “SOG 1“ and “SOG 2“ that provide ecstasy disguised as boredom on Kompakt Extra/Speicher in 2007, and the outstanding beautifully bizarre “SOG - Abweichung“ on Profan in 2010, we are now listening to “FREMDE HÄNDE“. Like its predecessors, this SOG stands in the tradition of „The Art of Omission“ with Wolfgang Voigt variegating his preference for the bluntly straightforward quaver bass in two different forms. The A-side contains a tonally noncommittal sequence ambling across the keyboard in quantised form, reminiscing of the arpeggiator (accompaniment function) function of early 70ies' and 80ies' synthesizers. On the B-side, daring and thoroughly unquantised quaver rhythms rock around a bass drum that, as the only straight element, tries to keep the whole thing together. The result sounds a little like a delirious Can Live.

Nach den legendären ersten beiden stoisch-superminimalen, als Langeweile getarnten Ekstase-Platten “SOG 1“ und “SOG 2“ auf Kompakt Extra/Speicher in 2007 und der überaus skurril-schönen “SOG - Abweichung“ auf Profan in 2010, hören wir nun “FREMDE HÄNDE“. Auch diese SOG steht natürlich ganz in der Tradition der “Kunst des Weglassens“. Wolfgang Voigt variiert hier seine Vorliebe für den stumpf-geraden Achtelbass auf zwei verschiedene Weisen. Auf der A-Seite haben wir eine tonal unverbindlich über die Tastatur wandernde Sequenz in quantisierter Form, die an die Arpeggiator (Begleitautomatik) Funktion früher 70er und 80er Jahre Syntheziser erinnert. Auf der B-Seite kreist die Achtel-Rhythmik in eher rockigem Sound ganz und gar unquantisiert und rhythmisch gewagt um die Bassdrum, die das Ganze als einzig gerades Element versucht zusammen zu halten. Das klingt ein bisschen wie Can live im Vollrausch.

Ltd. 7" Release.....This one definitely qualifies as a summer record. Holmes is the self-titled "King Of The New Electric Hi-Life".

When we heard Pompeya for the first time and were told they were from Moscow, we were like: - What! Are you kidding This is probably the first Russian band singing in English with such a classy Brit touch and male vocal being very strong and sophisticated at the same time.

Peter Presto is not only the founder of Pingipung, he's also the chap who did the first release on the label in 2002. Since then all of his dub sound has been available on 7inches, cause its simply the best format for these little gems. For Summer Of Seven he has reworked a theme from a classic computergame adventure in his very own vivid, happy-go-lucky dub style. Peter loves the melodies!

great new V/A EP feat. Gabe (SK Supreme, Sprout) Mucky Pups (Saved) - the new project from M.in & Jonas, Franksen & Tom Wax (BigCityBeats, Plastic City) and Alex Piccini (Bitten, Malatoid, Weplayminimal).