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hile it may seem as though it's been a quiet year in the studio for Brooklyn-based DJ/Producer Greg Schappert (aka Donor), his first full-length album entitled Against All on Chicago-based Prosthetic Pressings, will prove otherwise.

This 10-track release is a tour de force of formidable intensity and suspense and Donor wastes no time creating an ethereal realm right from the start. By taking a deep dive into a dystopian world full of distant transmission like voices, expressed through field recordings taken in and around New York City, Donor successfully paints a picture of what could be his unsettling vision of the future. While it may be difficult to explain how this album progresses throughout, there is something below the surface tying everything together, leaving us with a feeling of despair in that the world does not end how it is likely to be perceived through this beautiful or haunting, yet sophisticated, soundtrack. Alien invasions, civil war, post apocalyptic mayhem, call it what you will, Donor sets the stage for an unsettling vision of the not so distant future that can be heard in his thought provoking debut LP.

Donor's time spent overseas living in countries like Spain and Japan, his love for Birmingham Industrial Techno and early Dutch and Detroit Electro, combined with his upbringing on John Carpenter films, have all contributed to Donor creating his unique, yet recognizable sound.
Feedback:
Audio Injection / Droid Recordings
Yeah my boy Greg getting down! Great album!!
Leonard Posso / Thema
Hands down one of the best bodies of work to date from Greg aka Donor! SOLID PACKAGE! Many of these will get played throughout the night! Big Ups Donor and PP!
Vidal / Droid Recordings
nice sounds
Ergin Karabulut / FAZE Magazin
ok
DJ Nori / Posivision
cool dark essence.
Paul Clarke / Dj Mag
Not exactly heartwarming but lots of good stuff if you like it bleak.....
Mark EG / Core Magazine, Tilllate Magazine
IP Test
Nerk / V-Records / De:Bug
dark & minimal (in a good way)
Exberliner
!
Frank Hilpert / Freshguide (5x Regional A5 Mag) , Freshguide BLN, Freshguide MDL, erwischt.org/
Big - Review to follow.
Berlin Mitte Institut / Berlin Mitte Institut
More IDM than techno. Some interesting tracks on this album.
David Marcia / Phuturelabs, Phuturelabs
Good stuff. Considering for review and radio play.
Bleed / De:Bug
considering for review
Benoît Carretier / Tsugi
solid one tx
Pawel Gzyl / Nowamuzyk
killer1
Laurent Diouf / MCD magazine / WTM radio show
another wtm's playlist is coming soon...;)
Alland Byallo / Nightlight Music, Bad Animal, Pokerflat
Fantastic album. Deep, dark, nasty. Pure mood (and some seriously heavy BOOM).
Solomun
Hello, i am downloading and pre checking all promos for Solomun. I will give you a personal feedback if he plays and supports this release. Thanks a lot and have a great day.
Solenoid / Graphene / Belief System
wikked album of deep ritualistic techno ...
Electric Indigo
cool tracks here. station a14, ip test and own exile are my favorites after first listen. thank you!
Corin Arnold / BLN FM
sounding good, support!
RADIO CAMPUS BESANCON / THE VINYL GUERILLA
not really for me ... DJ Gaogao
Riyaz Khan / Diversions on chry105.5fm
like the shifting tensions and brooding atmospheres throughout!
Fabian Birke / WOMR College Radio / BLN.FM
For radio play, thanks
Andrew Grant (Circo Loco)
Own Excile is very good
Slam / Soma Records
cool album thanx
Sebastian Roya (Connaisseur)
Bomb! nice job!
Matthias Springer / Diametral / Chillkyway
great release, brainsqueezing!
DJ Hyperactive
good tune on here man
Patrick Bateman (Tic Tac Toe / Connect Four)
Hands On, Calling, Menace Is Mine & In Your Place are the ones for me. As always full quality from Donor!
Jonas Kopp / Curle, Deeply Rooted House
Will check properly , thanks.
HalfStereo
Dark moods is what i like...
Angel Molina ( Sonar / Tresor )
LOVE this dark & hypnotic release. Tracks like 'Menace Is Mine', 'Station A14', 'Counter' or 'Fault Is Found' are absolutely fantastic. thanks!!!
Scuba (Hotflush)
thanks. downloading for scuba!
Bryan Zentz / Minus / Thoughtless / Portlandia
I am miserably late on this—but really like it on quick listen. In Your Place and Us For Them are awesome. Looking forward to listening all the way through. Thanks!
Pär Grindvik / Little White Earbuds
thanks
Dr Hoffmann / Blind Spot
Great release, digging most of the tunes. thanks
Philip Downey / Swoon / pastlessonfuturetheories blog
Like Calling, IP Test, Us for Thenm, Fault, could try some on radio.
Tim Thaler / Bln.fm
downloading
Lukasz (Nermal) Napora / Audioriver Festival, Radio 4 Poland
great stuff. eager to listen to it from wavs
Vito Camaretta / Chain D.L.K
Interesting sonorities
Noah Pred / Thoughtless Music
Stark business worthy of a deeper listen.
2000 And One (100% Pure, Intacto) / 100% Pure
Oh yes perfect intermezzo stuff :)
Alexi Delano / AD ltd, Plus 8
Will have a proper listen.
Echologist (Steadfast) / Third Ear, Echocord
really liking this. fresh beats and trippy hypnotic vibes. look forward to spending time with this.
john1 / Bedrock
downloading
James Zabiela / Renaissance
In Your Place is nice in a bleak way.
Marcel Dettmann / MDR, Ostgut Ton
thx
Richie Hawtin / Minus, Richie Hawtin
downloaded for r hawtin
The Advent / Tresor
fantastic.. pure techno here.. Donor - Station A14 Donor - IP Test
Andrew Weatherhall / Rotters Golf Club
Downloading obo Andrew Weatherall
Noice Podcast Series
very nice Techno...
Samuli Kemppi / Prologue
Great album. Donor in top shape. Full support!
Lee Holman
Good album of deep dark sounds. Especially like Station A14. Thank you!
Benna Schneider / Harry Klein
some nice tunes here ,that I´ll play out surely
Douglas Fugazi / Medellinstyle
Yeah! Sounds really good. Thanks!
Plastic Lounge @ Freies Radio Freudenstadt
good tecno,playing
Kyle Geiger / Drumcode
Really like Space Station!
Paul Ritch
thx a lot for the promo
Dave Angel / Apollo, Rotation Records, Polydor/Love, OuterRythum, React Records, Island
Thanks! Will let you know if supporting.
Luciano Esse / Safari Electronique, Out-Er, Leftroom, Material Series
Great sounds, but I couldn't use them in set! Thanks anyway!
Arnaud Le Texier / Affin, Bass Culture, Cocoon, Children Of Tomorrow, Syncrophone.
Some inspiring tracks on this album! Thx
Henning Lösch / Radio Dreyeckland Freiburg
last exit Brooklyn...:-)
Roko (Sub.fm/B.O.M.B.)
OH shit this is good!!
Sigha / Immerse / Hotflush / Avian
loving this, many thanks
Jerzy Przezdziecki / Recognition Records, Boshke Beats Records
raw and mental. i like.
Alex Tolstey / Triangle Eyes/Boshke Beats Records
ho ho! review to follow
Alan Fitzpatrick
epic! love this.!

Apartment returns with a release exploring 3 facets of house music all inter-connected by the vocals of UK Soul & R'n'B singer, Greg Blackman (BBE Music). Steve Legget's (Four Hands, Claremont 56) original Believe Mix, the catalyst for the project, is an expansive 10 minute-plus journey through wistful dub lead by Blackman's soaring vocals. On the flip Mark Hand (Signals From The North) delivers a re-working; sculpting a beautiful, sun-kissed masterpiece featuring drums and percussion by Darren Moore alongside Hand's inspired playing on the Rhodes and Moog. To close out the release NCW finally makes a return to APT and subsequently gets lost in the DMZ pitching and twisting Blackman's vocals over a pulsating, bumping house banger.

Revered Belgian DJ and producer Mugwump proudly presents his longawaited debut album on his Subfield imprint. An impeccable nine track LP, informed by two decades as a globe-trotting DJ, producing tracks that have inspired everyone from Andrew Weatherall to Mr. Scruff. A mainstay from the Belgian club scene, on the ground in Ibiza in the early 90's, behind the cult Food Club in the late 90's, now running his own Leftorium clubnight in Brussels, with releases on the highly influential Kompakt label but also on R&S, Gigolo, Cocoon, Gigolo, Eskimo, Permanent Vacation or Throne of Blood... Mugwump has the CV to deliver one of the year's most eclectic and inventive studio albums, a timeless excursion into modern-day, leftfield dance-pop and mutant disco with heavy New-Beat influences. Produced with his partner Olivier Grégoire, it also gathers a solid list of collaborators : Circlesquare's Jeremy Shaw (!K7/Output), Brussels guitar wizard Raphael Lee (aka Spookhuisje), Luke Jenner (ex-The Rapture), Norway 's cosmic disco lords Päl Nyhus of Mungolian Jet Set and Tore Gjedrem from Ost & Kjex, Belgian multi-instrumentalist Stephan Fedele, Philip Janzen (frontman of Cologne's Krautrock-Disco band Von Spar) and Sami « Morpheus » Birnbach from 80's cult punkfunk/new-wave band Minimal Compact.

KEY POINTS
-Mugwump's SF001 and SF002 releases have been supported by Pachanga Boys, Ivan Smagghe, Horse Meat Disco, A Love from Outer Space, Huxley, Jack Savidge (Friendly Fires), Sasha, Ben Pearce, Groove Armada, Andrew Weatherall, Erol Alkan and featured in Mixmag, Clash, Ransom Note, Resident Advisor, DJ Mag, Phuturelabs, Insomniac and repeatedly in France's prime-time news show Le Petit Journal (Canal +)

-This album will be supported by a 4/5 piece live band, with SF002 collaborator DC Salas plus Raphael Lee (Spookhuisje), Stephan Fedele and Mugwump, plus a live drummer when possible. Early tryout dates already scheduled in Brussels (23.01 Maison du Peuple/20.02 Central)

-Freeman PR will be handling the full album UK campaign targeting all the major blogs, webzines, specialist and mainstream print medias with also tba UK plugger targeting radios. Two original videos are being finished right now.

-Mugwump co-runs and resides at the highly-rated Leftorium clubnight in Brussels and has a weekly radio show on FM Brussel, running for 10 years now.

Supporting Jesus & Marychain in Cardiff on 22nd February.2015 sees the return of Welsh psychedelicists White Noise Sound. This single is taken from their second album 'Like a Pyramid of Fire' out in April 2015.After honing their craft across the UK and through Europe - with the likes of Super Furry Animals, The Warlocks, Spectrum, Mark Gardener (Ride) and members of Spacemen 3, Spiritualized and The Brian Jonestown Massacre - WNS completed their debut album in 2010 with the assistance of Pete Kember (Spacemen 3 / Spectrum / E.A.R) and magician Cian Ciaran (Super Furry Animals). Released by cult California based label Alive Records (whose back-catalogue includes releases from The Black Keys, Beachwood Sparks, Iggy Pop and James Williamson and The Soledad Brothers) in 2010 (US) / 2011 (UK), the eponymous debut was greeted with widespread critical acclaim and WNS toured through Europe in its support. 'Like a Pyramid of Fire' sees the band take their trademark wall of sound - at once relentlessly pulsating and blissed-out - and conjure from it a sonic palette with range and depth. WNS worked closely with producer / DJ Phil Kieran and again with Cian Ciaran and the result is a metronomic and hypnotic onslaught of melody, groove and exploration which goes beyond the standard tropes of psychedelia.
White Noise Sound will be playing a special London show as part of the Convergence Festival on Monday 16th March 2005 (with label mates Eat Lights Become Lights and guest DJs Andrew Weatherall and Ben Osborne)

Top quality reissue of the original 3C Records release of the hugely in-demand 'Respect' 12' from electric violin virtuoso and academic Dr John Blair. Originally released back in 1983, this floor filling boogie rap bomb features production from the legendary Roy Ayers who expertly brings to life Blair's incredible musicianship. The Doctor drops a cool positive vibe rap on Side A but it's the instrumental on the flip that's the real fire losing the rap in favour of some insane violin soloing. A big favourite of DJs like Rahaan, Sadar Bahar & DJ Harvey, being one of the standouts of his 2009 Beats In Space appearance.

Beyond Time is the first album by acclaimed experimental group 23 Skidoo in fifteen years, released in a special double disc edition combining the soundtrack music to 2011 documentary film Beyond Time, and a DVD of the film itself.
Directed by Alex Turnbull and Pete Stern, Beyond Time is a journey into the life and work of artist William Turnbull, from his modest roots as the son of a Dundee shipyard engineer to his standing as one of the world's most highly regarded modern sculptors. Narration is by Jude Law. 'An insightful, irreverent documentary, yet with a palpable sense of purpose' said the Daily Telegraph, with the Guardian confirming that'William Turnbull helped change the way we see art today.'
The soundtrack music is performed by 23 Skidoo. Formed in 1979 as industrial, post-punk and funk genres coalesced, the group included Bill Turnbull's sons Alex and Jonny together with Fritz Catlin and Peter 'Sketch' Martin. As well as new music, the accomplished score features re-worked versions of older material. 'Johnny and I thought 23 Skidoo's anti-commercial tendencies came from a punk sensibility,' explains Alex. 'But it turns out we had a genetic predisposition to anti-establishment practices. Bill was a polymath at a time when that was a dirty word, shifting between sculpture and painting and putting both in a symbiotic relationship. Now crossing boundaries is everywhere: think of hip-hop. The name of the band referenced a William Burroughs short story. Burroughs used, as we did, cut-up techniques, collaging and sampling. We were oblivious to the fact that a lot of that aesthetic was in what Bill did until I made the film.'
Both the CD and vinyl versions of Beyond Time include a Region 0 NTSC format DVD of the documentary film (with bonus features), but feature different artwork. The CD/DVD package features a portrait of Bill by photographer Ida Carr, while the vinyl/DVD version features a detail from 05 by William Turnbull (oil on canvas, 1959) printed on matt reverse board.

Dear reader,

since Ramona presented all her disciples work throughout the first Lifesaver compilation in 2013, it's now time for another episode of togetherness. Summoning all of her artists around Frankfurt and those who live around the world, Ramona is now ready to present the Lifesaver Compilation 2. 

Kicked off by one of the Frankfurt young guns, the compilation leans into a melody-driven warm-up with a slight hint of analogue soul - "Digital Revolution" by Orson Wells. Next up is the Italian-born and now Berlin-based Massimiliano Pagliara. His contribution "Phasing Down The Sea" enriches the second Lifesaver installment with some of his signature synth-lines paired with a classic chicago-driven beat. The secret weapon from Kilianstädten also known as Mr. Melody, who goes by the name of Lauer, delivers a dark-italo and wave-ish piece topped off with the famous Lauer-craziness called "Language". Roman Flügel, the man of the hour, reinvents classic UK bleep-techno with Tender Hooligan". Another member of the young-guns-club, Chinaski, brings his certain level of synthesizer-love to the table with a track called Futuresex". Portable, one of Ramona's most delicate flowers, teamed up with Lcio again - together they created a hieroglyphic and deep-driven piece of music: "Dive In". TCB, also known as the only member of The Citizen's Band, delivers "Byrdmap", a solid piece of spheric deep and broken music. "Brainwashed" by Benedikt Frey marks the end of the compilation and simultaneously shows his dimension of futuristic dark-disco acid-madness. 

The Lifesaver compilation will be released as a double 12"-vinyl. Additionally Live At Robert Johnson will release an Extension-10"-vinyl containing two brand new tracks by the infamous Hotel Lauer and Tuff City Kids end of March 2015.

Be prepared,
Ramona

Since its 2005 debut, Torsten Profrock's T++ project has grown in stature and scope to the point where it's admired by fans of techno, dubstep, d'n'b and experimental electronics alike, and annexed by none. Anchored in the kind of scuffed, sub-heavy atmospherics Profrock developed in his 90s recordings for Chain Reaction, and naturally influenced by his work with Robert Henke as Monolake, the sound of T++ is singular, always evolving, difficult to fix.
Long ago snagged by the rhythmic innovations of the post-jungle underground, here Profrock makes explicit his debt to the radical fringe of UK garage. Snapping 2-step rhythms are at the heart of all four tracks; for all the distress, deconstruction and detournement they undergo at his hands, the spirit and swing of the British soundsystem tradition is unmistakable.
Further, Wireless is a kind of remix, a commission, shot through with the contorted samples of voice and ndingidi from a handful of old East African 78s (collected on the Honest Jon's compilation Something Is Wrong).
The result is a record that sounds at once ancient and modern, possessing a unique tonal language, and with it a curious, almost occult power — his most expressive, energetic and fully-realised work, affirming the enduring fundamentals of the T++ aesthetic even as it steers it into uncharted climes.

Uncto's seminal 2013 release Pain was an uncompromising exercise in rhythmical brutality amidst a conflux of themes of suffering, industry, man, and machine.
The record now sees itself reinterpreted and reimagined under the auspices of some of the scene's most eminent and accomplished forerunners in what is perhaps, as it arrives on an opulent red double-vinyl format, the label's most ambitious addition to its catalog to date.

Long-time trailblazers Exium first take on 'Dirty Minds' as they apply their unequalled peak-time treatment. While retaining the driving force of the original, the Spanish duo transmute its somber sense of narrative into a singular and infective pattern that unrelentingly maintains its intensity throughout. In contrast, Frenchman Mondkopf's reconstruction is a radical departure from its progenitor, almost as if the merciless titular oppressor ('Schinder') has been injected with an empathogenic truth serum and made to face the toll of his deeds. Serving as his final penance, the resultant insuppressible melodic radiance gushes to the fore as powerfully as his remorse and tears.
Continuing on the second record, Canadians Orphx draw upon the immense and unwieldy cyclicality of 'Judas Cradle' as they deconstruct the torture device into a prolonged yet unfaltering dirge. Harnessing the raw power of the original, they adroitly fuel and layer the modular solemn synths of the drawn-out nine minute epic. Finally, the unequivocal master of industrial cannonry, Ancient Methods (DE), takes on and reins in the unyielding beast of 'It,' leaving the monster not only tamed but fully subjugated to his will. Now capable of executing the most inscrutable order, itsees itself violently degenerated to the barest of elements and recombined anew, with the cadence of its frame shifted and staggered to the striding rhythm of a being more machine than flesh. Providing solace and closure are Uncto themselves, as they complement the compositions with two droning interludes.

Mastered by CGB at Berlin's Dubplates & Mastering, Pain Remixes will be available at fine vinyl retailers

back with another album project, this time from American producer Christopher Ernst, aka L'estasi Dell'oro, who also records as Penalune and is co-founder of the Voodoo Down label. Before now, Ernst has proved himself to be adept at crafting deep and atmospheric, excellently ambient techno on a range of labels. Varying his tempos and textures, he does acid, raw stuff, tough beats and more industrial grooves. Across this new 8-track album, all this and more is explored in captivating fashion. This is an expressive and expansive modern techno album from L'estasi Dell'oro that is perfectly at home on the always interesting Field label.

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

Working on opposite sides of the landmass we call Canada, Vancouver/Montreal duo Potatohead People (producers Nick Wisdom & AstroLogical) have been making waves for quite some time with their signature jazzy boom-bap meets boogie inside the bassbin vibes. Called a "formidable tandem" by OkayPlayer, their sounds have been championed early on by the likes of Kaytranada, Soulection, Nightmares on Wax, Pomo, Exmag, Big Boi, and Phife Dawg. After a few early releases on Vancouver based netlabel Jellyfish Recordings, Brooklyn's Bastard Jazz reissued their 2012 landmark Kosmichemusik EP and pressed a 7" released on Valentine's Day 2013. The association landed their song "Back To My Sh*t" (featuring Frank Nitty of Frank'n'Dank) on a Powerade produced LeBron James documentary and Nick and Astro began working on a debut LP for Bastard Jazz, presented here.

Big Luxury draws from influences disparate as classic jazz, prog rock, disco 90's hop, DJ Shadow-Era downtempo beats, alongside modern influences like the Brainfeeder crew and new electronic sounds coming out of Nick Wisdom's adopted hometown of Montreal. What's resulted is a finely honed, extra buttery album that effortly glides between tempos, but never loses the mood. The album also features a whole host of guest vocalists - J Dilla's younger brother Illa J, legendary Canadian MC Moka Only, New Zealand's Sorceress, and Amalia all provide contributions to the sounds within. Big Luxury is a velvety ride through vibes and a magnificent debut for these talented young Canadians.

Since its conception three years ago, the Hamburg based label hafendisko has been patiently building its reputation with a diverse and varied artist roster. Alongside releases from emerging talent such as Deo & Z-Man and Brynjolfor, it forms parent label hfn music's outlet for club oriented music whether with full releases or remixes for artists such as Kasper Bjørke and Faded Ranger and just recently welcomed renowned remixers such as Michael Mayer, Charles Webster and Luke Solomon, to name a few. Now with the release of Nummer Eins, Hafendisko is taking the next step in its evolution, serving up the best of past and present releases together with a string of exclusive cuts that signal an undeniably bright future. It's machine music with real heart and soul as, time and again, the tracks locate that elusive sweet spot that unifies mind and body. The opening act replicates this highly collectable four track vinyl EP that precedes the digital release: Snacks' ‚Easy' provides an aptly titled intro, with sweet melodies, warm synth swells and looping vocal hooks evolving over a low slung, funk inflected groove. 'Purdie', the duo's debut last September instantly became a huge underground hit, while they are currently working on their debut album. Unkwon is Anders Dixon from Copenhagen and people will stop asking if it's a typo soon. Just off his stunning remix for Trentemøller's Deceive he takes it underground with the stuttering beats and melancholy phase of ‚Everything', building a cavernous yet claustrophobic soundscape that's designed to make your eyeballs sweat, before Ewan Pearson's NRG instrumental of Kasper Bjørke's ‚Apart' goes into dance floor overdrive, upping the ante again. Both the Michael Mayer and the Ewan Pearson mixes of Bjørke's final single off his newest album stirred a buzz.

Closing off the trilogy of 10 Years Of Perc Trax vinyl EPs is the label's first ever 10' release. Drawing together two of the deeper and more experimental tracks from 'Slowly Exploding', the EP pairs label founder Perc with one of his longest influences; Zhark Recordings main man Kareem. First up Kareem brings a touch of deeper Berlin-tinged techno to Perc Trax, built upon a rock solid kick and drenched in moody urban atmospherics, then Perc closes the this vinyl series with a spiralling analogue noise exercise that builds and builds until live drums tear through the wall of bass tones...

Riding on the back of a surge of interest in De La Club, the debut LP from Hold Youth, comes a smartly picked repress of House don Nail. While the duo is known for their eclectic vision of dance music, the first repress on the label I've Been There EP is in fact an exemplary example of straight-up, no-fuss House. Enjoying a modest comeback of late both as a producer and DJ, Nail originally released Full of Beestone Promise EP on DIY Discs in '97. The stronger two of the four tracks will be repressed one on each side, 'Our Love' and 'I've Been There', distinctive for its melodic vocal and recent inclusion in the Apollonia fabric 70 compilation.

While we have become accustomed to Hold Youth's diversification of sounds with the current LP, I've Been There reminds us that a pigeon-holable classic can be highly refreshing.

VENT is proud to house Cindy's debut ep, which is a no-nonsense message of grime and salt that we never hesitated even for a second to release. Cindy's raw knuckle approach to production has a haunting beauty to it, and we look forward to being able to say: 'remember where you heard it first'.

Circle 3 is the 9th vinyl release on Blank Code Records and is the 3rd release in the Circle series produced by Detroit native Mutate (Len Bartush), with remixes by Luis Flores, Mike Parker, and Project 313.

Circle 3 exemplifies the spirit of Detroit Techno. A deep, rich kick with a nice snappiness keeps the beat driving as heavily filtered synths reverberate through time, reminiscent of Detroit's classic M­Series records. Tight, delicate percussion plays with some aggressive claps creating the dynamic of a true modern classic.

Luis Flores delivers a solid remix that completely deconstructs the original track while keeping it's most bold elements. The kick is booming, the bass is tight, and there's a mean hook that loops it's way around the percussion, really drawing you inside the track's world.

Mike Parker dispatches an up­front rework, shrinking the original elements of the track into a veracious hook, supported by clock­like kicks and hats..

Project 313 deliver a stand­out remix that really highlights the atmosphere of the original track. The echo of the crunchy stabs dissolve into an endless feedback loop, as clicky hats and a solid downbeat pull everything together.

Exclusive to the digital version is another Mutate original, Recursive. This down­tempo track dives deep into dub, with sparse chord stabs that let their echoes form the dominant rhythm. A wicked groove is formed by the broken kick and finely chopped percussion that glitches on beat.

we are very happy to announce the first single cut from the long awaited new album of gonno.

gonno is brightest hope of japanese underground house&techno scene.
he has released from international feel,beats in space and name a few and his "acdise#2" on international feel have been supported from laurent garnier,james holden,francois kevorkian,todd terje.

Athens of the North is proud to present Milton Wright's stunning alternate version of the now Classic Miami soul LP 'Friends & Buddies'. An altogether more stripped down, folky soul affair than its highly respected, much sampled brother is now available on Vinyl, CD and Digital for the very first time.

Shelved at the last minute then re-recorded and overdubbed, only a few promo copies of this early version escaped from the studio and are deep in the collections of the very few previously in the know.

The master tapes burnt in a fire at T.K Disco in Miami in the early 80s so even the label has not heard this in 30 Years. Many reissues of the second version of Friends & Buddies LP have come and gone, but Milton's original vision has remained hidden until now.

As searingly honest and stunningly soulful as any seminal Marvin Gaye or Terry Callier LP, it stands tall amongst its exceptional peers as one of the true pillars of quality 70s soul.

- Unreleased Alternate version

- New sleeve notes by Milton Wright

- Super-heavy high quality tip-on sleeve!

- Cut by the experts at Timmion Cutting Laboratory, Finland

Following the success of its first release by the ever elusive Jason Grove, the vinyl-only sub-label Skylax Extra Series returns with a little something beyond special. For those house-heads in the know, the man needs no introduction, but for those uninitiated, sit back and prepare for this double 12' selection to further your education in house music.Joey Kay hails from Chicago in the US and has influenced a great many producers in the last two decades with his signature take on the deep house sound. He keeps things simple in the best possible sense of the word, stripping back tracks to their bare essentials in order to maintain what the spirit of house music is all about: the groove, the soul and the feeling of being carefree, even if only experienced for a few minutes at a time. There are no superfluous or ancillary sounds in Joey's music and this is all the more evident when taking a step back and listening to his spectrum of output in this collection, which spans more than twenty years of his career.

THE company focused on realeasing original obscure dance classic and everything's that sounds fine to their ears !What a special one we have here on Skylax Classic! Damien Zala, the man who put out the superb album 'Lonely Happiness' on Rowtag Records in late 2012, who gets heavy support from the great Theo Parrish, dishes up six special tracks for our next release. Before diving in, it is well worth noting that a selection of Damien's album tracks had remixes by the likes of house icons such as DJ Jus-Ed, Rick Wade and Boo Williams! If those names register even the slightest blip on your radar, which they should, then this record might be the treasure you've been searching for. Damien's sampling technique has a certain air of grandeur to it. 'Shake Vibration' makes this apparent right from the start with intricate layers of vocals, guitar licks and keys. 'All My Respect' and 'Come Around' both follow suit whilst 'Dizzie' picks up the B side with a bit more energy and frenzy compared to what has come before it. The record rounds out with two tracks taking things a bit deeper. 'Stay Where You Are' drives forward with filtered pad chords that accompany jazzy sax and vocal cuts while conversely, 'Z To The Jz' brings in a moodier vibe with its jazz samples and smoky drums.
Do not miss the chance to get such a gem of a record from Damien Zala!, C L A S S I C ! A must to have in every djs collection. Essential Item No Digital .

Throughout the seventies the productions of Bunny'Striker'Lee were incredibly prolific and he created a number of different labels to handle his ever expanding output.
Bunny had always worked closely with Osbourne'King Tubby'Ruddock,who had built his first Sound System in 1957.But Tubbt felt that thingsreally got going when he took on Ewart'U Roy'Beckford as his DeeJay in 1968.When Bryon Lee upgraded Studio B at Dynamic Sounds to a sixteen track recording in 1972 Striker brokered a deal for Tubby to purchase the old four track equipment.The package included the MCI console that Tubby would go on to make world famous and as they say the rest is history...
Here we look at the Attack label and have assembled a compilation of some of the finest Dub cuts released on this label....enjoy

Objektivity is starting the year with launching the long-awaited vinyl-only sub-label called OBJ Analogue. As the name says, the concept behind this is that in order to make the record, it has to be totally hardware based: No plug-ins! Objektivity head-honcho Dennis Ferrer says: "The OBJ Analogue is a special project for me and is dear to my heart because I love analogue gear, vinyl, and hardware, so I keep that side of me happy."
The first OBJ Analogue release is coming by VIVa Music's Steve Lawler, who delivered a very rough two-track EP called - Inna State / Recuperate", produced with the Roland 808, 909 and 606 drum machines. The bass lines are recorded and played from Moog Voyager and the piano on - Recuperate" is coming from Emu Orchestra Rack Mount. Completely analogue!
Make sure you get your hands on the vinyl as there will be only a few limited copies out.

Roland Tings is Melbourne's jack-track anomaly with a penchant for acid coastlines and nebulous rhythms. Still fresh off 12 releases for 100% SILK and Club Mod, the Melbourne producer dropped the stunning 'Who U Love' EP with us last spring, to critical acclaimand in anticipation for his debut whoch is finally here now. and what we are truly excited to present. Forged by Melbourne's forward-thinking nightlife institutions, Tings made his debut with the Milky Way EP on 100% SILK - the enigmatic dance imprint founded by Not Not Fun's Amanda Brown. Having laid the groundwork of a raw-satin aesthetic inspired by that of Larry Heard and Robert Hood, his sound was solidified on the Club Mod-released follow up Tomita's Basement, featuring remixes from Future Times' Maxmillion Dunbar and Junior Boys' Jeremy Greenspan. Functioning as club-ready oddities with neon finesse, his releases thrive as rhythmic visions pushing dancers into his very own modular oasis. Having toured across much of Australia and Europe, he's backed up headline club shows with appearances at MONA FOMA and The Meredith Music Festival as well as support slots for the likes of of Tim Sweeney and Juan Atkins for Modular's Sydney Festival showcase. Now riding with a tight community of Australian producers enjoying recognition around the world, Roland Tings' custom texture continues to fold into a vibrant late-night fabric accessed around the world and you will see this reflected by the goodness and versatility of the 8 tracks on this vinyl.

With this release, Anne Arbor's jakbeat man delivers 6 minutes of electronic mania; a piece of repetitious, dance-inducing machine funk with a hook that hits you like a punch in the face with a velvet glove, brooding pads, and a top line like steel drums on acid. D'Marc Cantu twists the sound of Detoit techno and Chicago house with his own visceral production style and makes it his own.

"Sonically I'm reminded of old home videos, a lower quality presentation of a memory. Decay has that quality to it that reminds of a time gone but stills feels familiar and comforting" DMC

"Rival was the first experiment of my first alias, Rival. It was recorded in with a Volca drum machine the first day I got it, no effects and no edits, as is the basis of the alias, unedited analog sessions. One take" DMC

Finally repressed

MAYAK a stricly vinyl record label, is a part of the occulti music family. We are exploring deep house and techno vibes, remembering that not names, but high quality music is primary key to good experience for DJ's and listeners. That's why we promise to deliver long playing tracks on heavy vinyl records, so DJ's can keep the needed atmosphere. We believe that infinite loops with specific mood is the best way for people to feel what DJ's play and want to say through their sets. That's what we do.

In our series of related incidents we were out searching for a suitable incident to occur after our well received Black Merlin (George Thompson) voyage in early 2014 (it's been a long time, yes).
The following happened.
We approached "Will Flisk'' somewhere in the digital Jungle. Totally unaware that Will and George are actually long time friends.
ALL OF THESE INCIDENTS ARE RELATED.
Havamal inspired Briton 'Will Flisk' takes his filmic approach to music to the streets with his first output on our curious little imprint.
With the help of good friend Black Merlin (George Thompson) on synths and drum machines and Natasya Hodges on Cello, this amazingly orchestrated title track (Red Planet) takes us to different planets and back, even though our money is too short for commercial space travel.
Nashville, Tennessee's very own Grey People (Alex J Michalski) works his distortion on a sinister remix (B1) that's leaning towards the more techno side of things. for the B2, Will bestowed an amazing bit of roughness upon us.
With the blessing of Zoroaster the vinyl release will take place in January.

we are very happy to announce the debut release of our lovely friend in paris on mule musiq!
jac is half of bon&rau and running smallville records,paris.
after his beautiful first solo release on smallville records,jac delivered four deep&atmosphelic house stuff.
we are very happy to start 2015 with him!
enjoy!!

Following the digital premiere of the track 'Nobody knows' at the beginning of September, myr. is an artist who remains shrouded in mystery. His debut EP 'Nobody knows Avalon' is set to be released through recognised Cologne label PNN on January the 19st, yet as the title suggests, still very little is known about the man behind the music.

myr.'s wish to withhold information is made obvious through the choice of track names on the EP: 'Nobody Knows', 'Avalon' and 'Homii' are all titles clearly designed to provoke the listener's curiosity, whilst upholding a sense of the enigmatic.

Although some might argue that such conscious obscurity is little more than a publicity stunt, surely at a time when the cult of DJ and celebrity are often intertwined there is something refreshing about myr.s decision to step-back. You only have to look at the homemade, monochrome videoclip that accompanies 'Nobody knows' to realise that myr. is about as removed from the glitz of DJ culture as it is possible to be.

It is this determined distancing from the norm that comes through is his music. The minimal sound is carried through by an underlying warmth, a grittiness that sets it apart from the often near-perfect production of popular techno. The first two tracks 'Nobody knows' and 'Avalon' create a sense of anticipation, with minimal, ambient beats that build, the listener is left with itchy-feet and a hankering for more. In the final track on the EP 'Homii' there is a change in tempo, the monotone beats make way for some slowed-down, trippy vocals that open the listener up to myr.'s versatility as an artist.

'Nobody knows Avalon' is an EP that represents a return to something raw and removed from popular music. As for the mystery surrounding myr. Well if you can't put a face to a sound then the only option is to listen.

! Irreal, the fth long player from Chicago's Disappears, is another trip down the rabbit hole. The album plays out as a dream sequence - hazed dub landscapes give way to the group's most experimental and open music yet.



If their last album Era conrmed the fact that Disappears are on their own trip, then Irreal is where it kicks in. Eternalism, roboethics, identity - it's a Ballardian mix of imperfect melodies, half thoughts and good ol' dystopian modernity. It's a master class in texture, pace and control.



Produced by John Congleton at famed Chicago recording institution Electrical Audio, Irreal sits in the negative space where art rock and post punk collapse onto each other. It's the sound of Disappears reporting back from The Void.



track listing:

1.Interpretation 2. I _ O 3. Another Thought 4. Irreal 5. OUD 6. Halcyon Days 7. Mist Rites 8. Navigating the Void



press quotes for Era:



'On Era, Disappears begin to pave a path to transcendence that's a little more varied, grabbing the more anemic sounds of Clinic and Liars, while keeping the forward momentum of their most obvious influences Spacemen 3 and rough-edged Velvet Underground. They know they trade in the business of the past and work within confined musical language, but they play on, middle fingers scratching their eyebrows.' 7.3 Pitchfork



'For Chicago based quartet Disappears, time seems to move at a different, altogether more indeterminate pace. Era is a work of magic; a record you could lose days or even weeks in, without noticing at all.' Drowned in Sound



'It's an incredible mix of legitimately haunting energy and maturity that is really, really hard to nd, and even harder to nd in an exciting form that doesn't come off cynical or jaded.' The Talkhouse



'Era is truly a landmark album for this formidable foursome' -Brainwashed

first release of endless flight in 2015 is new artist in berlin.

our one of the most favorite new artist "matt karmil" intoroduced him to us and suggested to release
his music with the remix of himself.

we really love his unique house music and matt karmil remix is first class.

enjoy!!

Deep and organic analog tracks. Features interpretations by Sisterhood & Ben Sun. 300 copies pressed. Tip!!
The second instalment from the ensemble imprint offers four tracks courtesy of Belgian house ambassadors, Gratts and Xan Xoda, under their cheeky 'De Ambassade' guise.

On A1, Belgian ambassadors in Berlin Xan Xoda and Gratts treat us to some delicious 'Gebakken Lucht', a Belgian expression that you'd have to look up yourself.

Next up is Raw Sketches aka. Eklektiker, one of Belgium's finest DJs and a resident of the ensemble nights. His analogue workout 'Intiem' pushes all the right buttons and charmed us straight away when we first heard it.

Our favourite Australian poster boy of house music Ben Sun then gives a fresh perspective on 'Gebakken Lucht'.

And finally the great Sisterhood lads from London round off the EP with their rework of 'Intiem', turning it into a trip into space, where bass is the place!

Our first release is by Jay Clarke, a London based producer and resident of the renowned monthly party. The first release will showcase killer cuts from Jay himself, each showcasing a brand of Techno narrative that's become now synonymous with his contradistinctive sound.

Jay's production methods are by no means homogeneous to one strain of dancefloor Techno, his DJ sets regularly encompass tracks, tools or elements from the broader spectrum of electronic music, and you're sure to find an array of influences in abundance throughout his own productions. So it's not just First Flight by name, it's also First Flight by nature here for Jay.

First Flight features three original tracks from Jay himself and UK producer JoeFarr has been drafted in to take care of remix duties here, and brings his trademark rough- edged Techno sound along for the ride. This really isn't one for the faint-hearted; a great addition to what is a supremely versatile and well-rounded release.

Support from:

Dave Clarke, AnD, Phase, DVS1, Kriz!, Inigo Kenedy, Ben Sims, Shifted, Marcel Dettmann, Kwartz, Answer Code Request, Adam X, Surgeon, Norman Nodge, Henning Baer, Luke Slater, Nihad Tule, Francois X, Len Faki, Abstract Division, Slam, Pfirter, Happa, Rivet, Thomas Schumacher, Brendon Moeller, Ame, CTRLS, Joseph Capriati, Richie Hawtin, Steve Lawler, Sasha, Hernan Cattaneo, John Selway, Dave Angel, Dave Tarrida, Juho Kusti, Bas Mooy, Psyk, 2000 and One, Dax J, Espen Lauritzen, Arnaud Le Texier Fundamental Interaction, Vincent Neumann, Lee Holman, Gareth Wild, UZB, Mr Jones, Submerge, Sandrien, Setaoc Mas, Annie Hall, Matthias Woot

Welcome to Berlin's best kept secret: 'Hot Pony: The Nightclub At The End Of The Universe'. It's from this fertile womb that 'Royal Athlete' was born. Created as a platform for the 'cosmic-italo-afro-electrofunk-boogie' sound that 'Hot Pony' blends so well, these release's will be various artists only and guaranteed party weapons for cybernetic lovers and space-jockeys. Always limited, always slamming. For this release we present the 'polyrhythmic renegade' turned electrofunk wizard Vexkiddy, his first new music since 2012's Pedantic Romantic on Human Shield, more cosmic nightdrive action from Giallo Disco's Antoni Maiovvi, a beast of a dancefloor heartbreaker from Bill Ambrose and Marika Gauci - the voice of UK Italo, better known together as 'The Dreamers' and finally the first release from Berlin's Dimitri SoEmotional a smooth modern-boogie-workout. Not to be missed!

Long-serving French talent Philippe Petit is welcomed to Figure SPC with this dextrous and inventive four-track EP. Petit is the owner of the Knotweed and Decision Making Theory labels, enjoying a busy schedule as a fine purveyor of edgy, melodic and classic Techno stylings. We look forward to more to come from Mr. Petit!

Federsen returns to Fifth Interval for another sublime instalment of dance floor friendly dub-techno. Dewpoint is an altogether tighter affair when compared to the label's first release, Point Reyes.

The drums are taut and razor-sharp, propelling the listener effortlessly through a dense fog of ferric clouds, swelling to fill the outer-reaches of the echo chamber. A highly polished metallic production style that can be compared to some of Andy Stott's early and classic works.

Tomas Rubek remixes Dewpoint for the B-side, remaining faithful to the original track's structure but viewing it through a tinted lens. Dewpoint's chords become iridescent, kick drums fall into a straighter pattern and are backed by further dusty percussion, shifting the original into spheres inhabited by the likes of Rod Modell and Fluxion.

12" 180g vinyl with printed sleeve.

Mastered by Lewis at Stardelta.

"Original mix is dope." - Brendon Moeller (Beat Pharmacy)

"Really digging this remix. It's been on repeat this morning." - Silent Season

"Full support, I will play it, love Federsen's work!" - Fingers in the Noise

"Played on BBC Radio" - Steve Barker (The Wire)

After 14 years working with a huge spectrum of D&B greats, London based Irishman Cian McCann has long since established his place in the scene. From his early days in Dublin with the Bassbin label to working with the likes of Calibre, 4 Hero, Klute, Alix Perez, Rockwell and Noisia, he has never stood still. 2008's Cheap Shots LP for Total Science's CIA Records was a high point, with lead track Walk Away bringing vocalist Steo to the worlds attention. Also a noted remixer, he has retouched artists as diverse as Dillinja, Slam, Rolo from Faithless, Sabre, Lemon D and Lenny Fontana. Zero T's discography shows the diversity that his DJ sets have always shown, ranging from full vocal smoothness to darker, more technical styles. You are as likely to find his music on labels like Subtitles and Shogun as on Soul:r or Signature. 2010 saw two milestones reached; the Launch of Footprints, Zero T's own label, and compiling and mixing FabricLive052 for the esteemed London venue. After a short period away from the scene, 2014 sees the return of Zero T as a producer and DJ. Watch out for his collaboration with long-time cohort Beta 2 coming on Metalheadz Platinum soon and a follow up EP to the Roxy Music EP on Dispatch Recordings. Now The Prestige Music Group is proud to announce, 'Roundwood / Hurricane Charlie' due out in late September or early October

The German saying 'Ist der Ruf erst ruiniert, lebt man voellig ungeniert.', meaning once your reputation is ruined, your life gets easy, sums up a lot about Furfriend's artistic doing.
'Freedom of Filth' lives tightly along those lines and throws its full force of lushness at you, growing into an empowering industrial monster that makes you want you to rip all clothes off your body. If JFK did it, so can you.
If big room sound is too much for you and you miss the simplicity and pervy voice of Dingo Tush that made the duo famous, you'll wanna follow their instructions for self appreciation and have a listen to 'Touch Myself', A trainlike fuckfest for the dancefloor. Make sure to bring some lube!
Following is a short live recording from the 'Fuck Olympics' .... we are just going to leave this uncommented here.

'Decadubs 5' is a vinyl-only double-pack companion to 'Hyperdub 10.4', the fourth and final CD in Hyperdub's series of collections throughout 2014 to mark the label's first decade in existence. Both 'Decadubs 5' and its full-length parental set explore the club spaces opened up by house, garage and techno, as viewed through Hyperdub's singular filters. Side 1 leads out with 'Lambeth', a long awaited previously unreleased track by Burial, with an unusually triumphant and - compared to recent extended montages - relatively direct 2step feel. This is followed by the low slung tech-garage of Kode9's 'Oh', while on the flip the whole of Side 2 is given over to the lush deep house of Cooly G's 'Love Again'. Side 3 opens with the fathoms-deep bubbling bass and synth washes of DVA's extremely psychedelic 'Monophonic Nightmare', then Dorian Concept turns in a quirky remix of Martyn's classic 'Mega Drive Generation', which originally appeared on Hyperdub's fifth anniversary compilation in 2009. Side 4 reveals another classic from the vaults in the shape of Cooly G's skeletal house cut 'Him Da Biz', and the EP comes to a close with energy levels turned up on Funkystepz's 'Vice Versa', a track much in demand since it first appeared on Kode9's 'Rinse 22' mix compilation from 2013.




E C2 | Martyn - Mega Drive Generation (Dorian Concept Remix)

Deambulation is a 23 minutes tunes, a long long evolution with no beat that really brings a superb sound experimence... B side stands a 16 minutes tune called Human Dissonance... A sound out of the usual fiealds as well, very groovy and progressive... This is not trippy, this is an Acid travel.

The mighty Bohari return with another in their split-single series, showcasing new and exciting artists.

We have no idea who Barrut Fulsara is and he won't tell us a thing - all we know is that he has been in the game for a long time, and that this new moniker is for his excursions into deeper territory.
We're just happy he chose Bokhari as the outlet.

Joe Europe on the flip delivers the kind of synth-laden quirky house that we love at Bokhari and we're pleased for this beautiful track to finally see the light of day...

Listen to this if you like: anything that we've put out last year, wrapped together in a lovely double pack of a 12 and 10. The Roundup part 1 is the first part of an annual recurring event: the big Heist family remix EP, where all artist names get put in a big bowl, and by luck of the draw, find themselves remixing (and remixed by) another Heist artist. We've got Max Graef remixing Detroit Swindle and turning the break up into a full on Graef-affair. The label heads themselves take 'The Organ Grinder"'s 'Change all the time' and turn into a deep Chicago-esque tune and completing the 12, there's Frits Wentink's take on Bluebottle, experimenting with his trademark shuffle. On the 10, Standout track of the first year of Heist 'Jungle' gets a lovely rework by Nachtbraker, giving it a more 4x4 feel than the original and The Organ Grinder who turns Frits Wentink's Schrewd into a full on Filter house cut. The artwork is handmade and photographed by Baster. Sincerely yours, Lars & Maarten

Tapper Zukie was high on a list of artists that Richard Branson in 1978 had in mind to sign to his new Reggae label Front Line.
The mission was to sign the cream of the reggae crop when the Virgin record boss went down to Jamaica with a group of Reggae minded people,included in that group was one Johnny Rotten,singer of the very recently disbanded group The Sex Pistols.
The result of which would be a two album deal between Tapper and the label.
The first release also in 1978 was the album Peace in the Ghetto(Kingston Sounds KS052) and this release Tapper Roots.
For the cd issue of this release,Tapper has picked two tracks that he feels hapy to put alongside the album.
'Make Faith' cut with the band Knowledge and' New Star'..
This is a very important album from the Tapper Zukie catalogue...Respect

Inner City Records returns with their fourth release, continuing with the ethos of providing first class, dance floor-driven house music with groove and attitude.
InnerCity welcomes the return of an artist who has been there from the very first release and one that fits the InnerCity sound perfectly. Leigh D Oliver, hailing from Yorkshire (UK) has firmly established himself as an artist synonymous with top-notch house music. Leigh's passion for 'proper house' coupled with his raw talent has resulted in him gaining numerous chart positions and releases on prestigious labels such as Large Music, Underground Source and Freche Fruchte.
With its heavy kick, rumbling bass, smooth chords and sweet vocal hooks, '(Sic)' kicks off the release in absolute style, highlighting why Leigh is one of our absolute favourite producers here at InnerCity.
For the second track, Leigh returns, this time combining forces with Lost Records owner Andy Lee. With two producers of this caliber, the results were always going to be excellent. Andy, from the North East (UK) has seen releases and remixes on labels such as Love Not Money, Spinnin' Records, Nervous Records and his DJ career has taken him worldwide, playing gigs in Moscow, Switzerland, Ibiza and beyond. 'Moves Ya' is a first class slab of deep & moody house that does exactly what it says on the tin. A track teaming with deep chord hooks, clever vocal samples and low bass, Moves Ya is perfect for the darker, sweatier clubs.
Next up, InnerCity's very own Roland Nights brings us 'Let It Rain', a dance-floor driven slab of straight-up house with jacking percussion, warm chords and soulful vocal cuts. 'Let It Rain' showcases Roland's passion for classic-sounding house music which has seen previous releases on labels such as Lost My Dog, Large Music and Amenti Music.
Last but by no means least, we head over to the Ukraine, gladly welcoming Mystep who lays down an absolute beast of a house track that is filled with energy, classic sounding chords and rolling bass, guaranteed to work on any floor.

DJ Support:

Golf Clap
Miami Ice
Kinky Movement
Ian Straker
Joan Ribas
Jordan O'Regan
Luke Gibson
Jeff Craven
Cahul House Mafia
This Is Why We Dance
Manooz Manuel
Greg Fenton
Raw Culture
Horsey
Marc Cotterell
Pete Gelderblom
Carlo Gambino
Leigh D Oliver

Reminiscent of a time where we were releasing 4-tracks sampler every month (remember the Secret Gems From The Vault) It is naturally that we thought about a various artists sampler in order to introduce the new wild bunch,

Julian M, is french and is taking over right now, releasing here his first track on Briquerouge, But the man is no beginner, having released on Catwash, Homecoming, Denote, to name but a few and of course recently on our own RZ Muzik, His music is deep, acid, techy and ready to please any crowd, Ange Siddhar is working for Laboratory Records and works with legendary artists such as Ron Carroll, Paul Johnson or Chris Count and now teams up with Illan Nicciani on several House project, They have a strong vinyl lovers community following their releases and just joined the label with 'The Show'

Jepe was one half of John Waynes who already release on Brique Rouge and is now one of the most respected producer from Portugal, Actually living in Berlin, he has released on Get Physical, Blossom Kollektiv or MuleMuziq, Jepe's tracks have a very high level of quality, True House Music,

And last but not least, our good friend from Switzerland, mr Salvatore Freda, With the machine-driven futurism of Detroit in his step, and the bounce of Chicago in his shadow, Salvatore Freda is a pure vinyl DJ from Lausanne, Switzerland. With a production career that began in 1997, Freda has built up an impressive discography over the years. His music has touched some of techno and house's most respected labels including Trapez, Music Man Records, Liebe Detail, Freerange, Area Remote, Push Communications, Dessous, Nightvision, and Cadenza.

Early Support:

Dubfire / Nacho Marco / Matthias Vogt / Tyree Cooper / Ame / Clive Henry / Renato Cohen / llorca / Blacksoul & many more

As one of contemporary alternative music's most elusive figures, Dean Blunt returns on Black Metal and delivers his most assured and ambitious record to date for Rough Trade. An album of two halves; the crestfallen baritone on Blow is juxtaposed by the inner-city sermonising of Grade, just as the melancholic strumming of 50 Cent gets rattled by the unrelenting stagger of Mersh. With ominous narratives of hunger and loneliness rumbling underneath the gloomy surface, Black Metal is a moonlit cruise through Blunt's cloudy metropolis. There's no telling where he'll go next, but this is one of his finest trips to date

Remastered from original tapes- 2 LP + CD - DOUBLE WHITE VINYL, CD INCLUDED + 4 Pages Poster ! This LP+CD will be the only physical edition (no cd available for sale) . For the 1st time eve, the best Kongas tracks are collected trough this best of vinyl+cd. Kongas were the band Cerrone's started to play music with, as a drummer. Famous french A&R Eddie Barclay saw them & signed the 2 first albums. Cerrone left Kongas to start his solo carrer, and produced & signed on his label Malligator the next Kongas's albums. Double white vinyl. Features the Cd. KONGAS 'The Best Of'

Eat My Pussy" is the delightfully nasty debut solo release from Latvian artist Anet K., coming out on Pomelo November 24th. The title track, featuring Anet's vocals and production, functions as both a demand and endearing request, fusing her encyclopaedic knowledge of electro with a cunning lyrical twist. With such a explicit title, it should come as no surprise that the inspiration for "Eat My Pussy" comes from firsthand experience. Anet K. is no stranger to the scene - as a long-term resident of Berlin she's contributed vocals to several recent releases, including Barker's "Like An Animal" on Leisure System.

Heidi Lord Wife of Rephlex/WeMe artist Jodey Kendrick 3 of Heidi's tracks are featured on the famous "EDM" Compilation Albums This is the Debut album from Heidi Using a unique pallet of sounds from MRI machines to modular synthersizers to conversations in a super market to her own processed voice Co produced by her Husband "I could describe what the album means to me, But i would much rather leave it to listener to experience and feel and to interpret how they see fit"

REPRESSED !!
Tim Xavier's newest imprint looks to cross the boundaries between House and Techno, this time featuring Jamaica Suk with her Spektrum EP. Stepping into harder Techno territory the up and coming artist brings a solid 4-track EP with style and flair like none other.
Born and raised in California, Jamaica Suk has always been surrounded by music playing many instruments as a child. In her teenage years she began to play bass guitar in many Math Rock and Shoegaze bands. After becoming frustrated with the conflicting ideas of band members she would eventually find a new love in electronic music.
After enrolling in audio engineering school in San Francisco, she quickly became a known force within San Francisco's electronic music scene. Once she completed her audio engineering studies she decided she wanted more. Traveling around the world following her Techno dreams, she would eventually find her new home in Berlin where she has built her own fully functioning production studio at Salon Wilde Renate.
Jamaica makes her vinyl debut on Face To Face, following her Embers EP on Coal Recordings. Her sound can be described as sexy and sophisticated contemporary Techno but still packing a punch that puts it perfectly in line for prime time sets. The 4-track EP with a bonus digital only track explores all her ideas as a musician and artist including taking inspiration from her rock roots with gritty raw elements.
Already highly respected amongst her professional peers as a tour de force of creative energy and drive. There is nothing this woman can't do, as all her work is produced and mixed solely by herself. She continues to push the boundaries of Techno music while staying true to herself as an artist and it's through this determination we're sure to see more from Jamaica as she continues to evolve.

This (insert month) FUSE London's sister label, Infuse, returns with the seventh installment of the series with three superior house deviations from Wigbert, Motif and Pelle & Roon aimed squarely at those in the know.

First up is Wigbert and his track 'Bongo Bongo' lives up to its name as it is a percussive journey through various rhythms. Next up is Motif who delivers the excellent rolling house number 'Inner' which features a dubby bass line, with an intermittent wailing vocal and perfectly executed stabs. 'Gida' by Pelle & Roon rounds off the EP in fine style. It is another low-slung house number characterized by deep bass and warm chords washing against more mechanical sounds.

This seventh installment is another sterling addition to the famed Infuse series. All the artists on offer here showcase their distinct sounds and styles and despite effortlessly slotting into that loved Infuse sound, their differing personalities shine through. Essential.

Poker Flat Recordings has been dealing out underground house music with a unique twist since 1999; from the defining debut 'Loverboy' through the Bugnology series, acclaimed albums and worldwide club hits, Steve Bug's essential imprint has unearthed new talent, developed rising stars and welcomed veterans into the fold. Steve Bug's reputation as an exceptionally gifted DJ, producer and music connoisseur is about to carry the beloved imprint to its 15th anniversary, which will be celebrated with its finest collection of raw talent yet, starting with this first installment of the anniversary series called 4 Jacks. Following the winning format of the series thus far, Part 3 boasts two slamming new remixes of classics from the vault, and two brand spanking new tracks from Poker Flat's stellar roster. Argy's 'Love Dose' of 2005 marked the debut of one of the scene's most fascinating newcomers, and defined the sound of minimal courtesy of an unforgettable remix by Luciano; now getting a 2014 update, the track has been taken to by the talented duo Audiofly, who makeover its identity with their signature sleek deep tech style. Two heavyweights go up against each other next, as Joeski tackles the Martin Landsky classic 'Reject

Seattle/San Francisco based Techno label, From 0-1 issue "Time Dilation", a 12" vinyl/digital EP by label director, and co-owner Milkplant (Justin Pennell) of the San Francisco Bay Area. Andrei Morant and From 0-1 co-owner Sone join in as remixers. Including an endless groove and two locked grooves, this piece of vinyl is meant to be as utilitarian for the vinyl DJ as possible. 'Dimension 4' starts off the EP with a classic big room percussive Techno vibe, closing in an endless groove. Following is Andrei Morant's absolutely punishing treatment of Dimension 4, a tearing lead, and searing percussion point to the main room. Two locked grooves, one percussive, the other synth based close out side '0'. On the flip side Milkplant's 'Spherical' reps a tight "future-retro" vibe; elements of old Motor City Techno dominate with a bit of grit to keep it dirty. Sone dials in a perfect toned down, more expansive and hypnotic interpretation of Spherical showcasing slowly evolving filters and modulation fit for the wee hours of the morning. 'Plasmic' is included only as a digital extra in this release- tough, noisy, and a little tripped out with a bit of swing to keep them on the floor.


All12" vinyl jackets are custom screen printed by Bloom Press in Oakland, California, with design curation by label art director, Rubidium. Mastering and distribution by Dietrich Schoenemann of Complete USA. Marketing and promotions by Pullproxy Berlin.

- Which Side Are You On ' is the second EP of Berlin based Fabian Dikof. As a youngster he learned his first basic skills in producing and deejaying from Mr. Andre Lodemann himself in a youth program that Lodemann was teaching in his previous job as a social-worker. Now years later we are happy to have Fabian Dikof back on board with his second release on our Berlin-based imprint Best Works Records.

This 3 tracks EP shows a strong affinity for slow atmospheric build ups with dramatic even surprising mood changes as well as designed beats for the dancefloor. Fabian Dikof takes you on quite a trip through warm sounding synthetizers and rolling basslines. What an in incredibly mature output for such a young artist. So the question here is 'Which Side Are You On'. We see a bright future for this gifted artist.

Producer CRISTIAN VOGEL, born in Chile and in raised in Bristol, England, represents an inner turmoil within the history of electronic music and techno. Like only a few other artists such as Aphex Twin, he personifies the second wave of techno during which authorship, previously pronounced dead, returned in full force. The former punk, who had completed studies in composition (20th century classical music in Sussex) conveyed a powerful force in his music, which now finds its place very naturally as electronic music; back then, it did more than just shake up the concepts of techno. Complex and intricate rhythms (Süddeutsche Zeitung) dig deep chasms in dark (listening) spaces.

In 1996, together with JAMIE LIDELL as SUPER_COLLIDER, he made a final attempt to breathe life into electronic music, which was still primarily seen as dance/rave/club music, and produced clustered break funk music that was so relevant to its time that many considered it more a music of the future: science fiction for the dance floor. Although the project was not a failure, it did not succeed even halfway in meeting the expectations of an artist who was rather perplexed by the lack of interest he perceived in others in music as art and research. Vogel believes that music has a will to unfold, like a jungle from the undergrowth of industrial cities where music is thought of as an attack and a defense.
Seemingly out of disappointment in the predictably declining hedonism of the scene, he moved to Barcelona and bound his explosive ideas to more accessible formats, founded labels, created networks (No Future, Sleep Debt) and, at the same time, revisited his early days by working more and more on formats such as music for ballet and similar concepts. He also sought freedom precisely in what was referred to as functional electronic music through conceptual and serious endeavors in the artistic sense.
Vogel went under for a time and lived in Vienna before arriving in Berlin nearly two years ago, where he made his first new and daring attempt to assimilate everything that electronic music represented to him on one album: 'The Inertials' on SHITKATAPULT. Shortly after that, his mystical, floating ambient work 'Eselsbrücke' was released, which already spoke the language of the new city.

He now presents a new album on SHITKATAPULT entitled 'POLYPHONIC BEINGS' - a true masterpiece in the inimitable Vogel style, as his fans will no doubt claim. 'POLYPHONIC BEINGS' begins, after two minutes of an irritating noise wave, with a surprisingly classic dub track and grows darker and more abstract from track to track, minute by minute. An eerie and unbelievable sound, with all as it should be: every reverb tail, every movement of the fader, every composed note takes the listener piece by piece into Vogel's own cosmos.
He foregoes interwoven elements for swaying towers of rhythm, powerful sound passages, spaces, roads, mirrors and pathways, leading to a stream of ideas that never wants to end. He aptly quotes Karl-Heinz Stockhausen in the liner notes: These are the "atomic layers of ourselves." And so it is. We are what we hear. This is the definitive CRISTIAN VOGEL.

Saxophonist Sean Khan is a multi-instrumentalist distinguished for his ability to fuse traditional jazz with contemporary styles. His involvement in the West London broken beat scene as band leader of the cult soul/ jazz outfit SK Radicals and as a collaborator with the likes of the Bugz in the Attic collective, have seen his unique breed of jazz put to full effect in London's clubs, at nights like the legendary bruk orientated 'CoOp'.

In anticipation of Sean Khan's second album on Far Out Recordings: 'Muriel', this four track 12' release features remixes from 4hero and Nicola Conte with father of British Neo-Soul, Omar on vocal duties. 'Don't Let The Sun Go Down' is uplifting and sophisticated dance-floor jazz. Dego and Marc Mac (4hero), two pioneers of broken beat, jungle and UK dance music as a whole, re-work the single from 'Muriel' into a delicately crafted downtempo number, which tames the original somewhat with club focused intentions, yet retains all of its fluidity and groove. Along with the eminence of rhythmic elements, Omar's instantly recognizable, thick and soulful vocals are sparsely and subtly layered to create beguiling, unconventional harmonies. Elevating the track to its peak, Sean Khan's exquisite alto sax solo demonstrates both his technical prowess and keen understanding of jazz's history, whilst working to carve out its future. The B side hosts Nicola Conte's remix of 'Things to Say'. Renowned for his input and influence in the lineage of acid jazz and fusion, as a producer, Dj and musician, Nicola Conte provides a deeper, darker take on Sean Khan's unique blend of jazz. A bouncy 4/4 house beat skips along beneath contemplative, whirring Rhodes, while the ghostly soulful vocals of Diana Martinez and samples of Sean Khan's expressive sax playing see the track taken to more introspective yet still clearly club focused territory. The final track is the intro to 'Sister Soul', previewing more material from Muriel, Sean Khan's forthcoming studio album on Far Out Recordings.

After a two year gap Clio is back on Metroline Limited after producing two of the most successful releases from the label's extensive catalogue: For Sure Baby (2010) and Do It EP (2012). In the opening track, The Beautiful Forces, Blade Runner soundscapes morph into post-rave stabs and combine with heavy subs and sci-fi effects to create the soundtrack to a rave in an abandoned space station. On a more Chicago tip, Something Like That is a collaboration with French groove master Loquace. The result is a loose, flowing house jam, which as the lyrics tell you, is all about vibe - it doesn't have to be planned... it's just how you feel! The legendary Thomas Schumacher turns out a serious burner on the flip with his remix of The Beautiful Forces, bringing the vocals up in the mix and throwing in a pumping b-line to keep things moving nicely. Swiss rising star Yvan Genkins takes on marginalising the Chi-town flavour of the original and working the elements up into a eyes-down Tresor-style techno monster. Classic 909 hits, a satisfying low-end rumble... it doesn't get more floor-friendly than this.

Zeitgeber and L.B Dub Corp split the second in Stroboscopic Artefacts' series of fifth anniversary records. Zeitgeber is the collaborative project of SA label boss Lucy and Dutch techno royalty Speedy J. Their joint alias birthed an exceptional long-player last year and has since been presented as a b2b act at festivals and clubs around the world. 'Totemism' is their first officially released output since that album, and is every bit as compelling. 'Totemism' opens with distant, reverberating bells and a thin film of hiss and crackle. But, one minute in, heavy and incessant drums cut through the ambience, hitting you straight in the chest. The surrounding atmosphere evolves and filters in-and-out of the mix until, halfway through, the track takes an unexpected turn with an elastic bassline and acid squelches. Then, the drums hit you again. This is an 11 minute masterclass in widescreen, narrative techno from two of the scene's most experienced and inventive producers. Luke Slater, a man of many aliases, slips into L.B Dub Corp mode for the B-side of this record. This particular moniker of Slater's generally trades in raw, culturally-inspired house music, though has also appeared on Stroboscopic's Stellate series with two deep and beatless dubs. For his contribution to SA's 5 Year anniversary, Slater re-visits a classic club cut of his own, delivering 'Take It Down Again (In Dub)'. 'Take It Down Again' is a brilliantly-realised exercise in tension, dub delay and mixing board creativity, all made to shine by a dose of oddball musicality and sampling. This version of 2010's 'Take It Down' is more restrained and tonally varied, equipped to instil a brooding and tribal darkness on the floor.

It was a little bit quite around the wirrwarr label in the last few years, as the boys focused on other projects like building up an bookingagency, a 2nd recordshop, new labels and for sure producing new music.
Now they are back with some fresh and crazy minimal techno tracks.
On A1 we have Mr.Wigbert with his first appeareance on WirrWarr, A2 comes from labelhead Locke in cooperation with MC Shaver.
B1 is a freaky brain damaging minimal monster by Matt Star.
And last but not least B2 called "Piano", a old but still fresh sounding work of Locke. Freak out!

Emerging NYC label Lost Soul Enterprises present Hidden City, their third 12' release and first single-artist EP.

These four tracks by Brooklyn native J Slusher, made in collaboration with his fellow artists in the borough's thriving experimental techno scene, are dark, menacing excursions into after hours territory. His previous work as a noise artist under various monikers (Opponents, Privilege, Unstable Systems) informs a uniquely uncompromising take on club music.

Slusher takes a stripped-down, industrial approach to percussion and populates it with otherworldly vocal snippets and growling synths. The result is hypnotic, evoking the severe moods and disused spaces so vital to the secret nightlife of the city.

Audiojack's Gruuv label returns this October with a four-track package from French producer Okain, featuring a remix from Tuccillo. Parisian artist Samuel Thalman aka Okain has quite the standing in contemporary electronic music having been a prominent name as a DJ and producer for the past fifteen years. Playing at some of the leading nightclubs across the globe such as Fabric, Watergate, Space Ibiza, Rex Club and Electric Pickle to name but a few. Thalman's also built quite the respectable back-catalogue in his time, releasing material via the likes of Tsuba, BPitch, Memento and Cadenza, and here we see him add Gruuv to his affiliations.

Kicking off the release is 'Down the Block', seeing Okain offer up a rugged percussion and bass led house cut, fuelled by swinging rhythms, rumbling sub tones, sporadic sax licks and processed vocal lines, opening up the EP on an energetic tip.

'RZ One' follows this, retaining a similar aesthetic with an insistent drive and penetrative low-end, though Okain opts for a grittier production feel here, distorting the drum sounds, instilling expansive, atmospheric reverb tails and drawn out delays alongside hip-hop imbued vocal lines.

On the latter half of the release we have two versions of 'By Your Side', the first of which is the original mix from Okain, which takes on a more stripped-back approach in comparison to the preceding composition's, laying its focus on fluttering synth sounds, a stab-led bass hook and warm motown style vocal chops. 2020Vision artist Tuccillo then rounds off the package with his mix of 'By Your Side', turning in his signature percussive-led style on the mix with intricately programmed drums and a subtle underlying tension that softly bubbles away in the depths over the cuts seven minute duration.

Bell Gardens combines the musical visions of Kenneth James Gibson (formerly of Furry Things, now recording as
*Bell Gardens' origins began arguably as more of an experiment than the duo's current 'experimental' projects - McBride's drone- and string-laden ambient symphonies, and Gibson's ventures in dub and minimalist techno - as they sought to manifest their mutual reverence for folk, psychedelia and chamber pop in a traditional band structure without cannibalising any particular past genre. Bell Gardens' sound is less reliant on effects and studio trickery than the pairs' independent guises, laying bare as it does vocals and live instruments with emotional sincerity, and presenting songs imbued with an almost pastoral or gospel simplicity and timelessness.
Slow Dawns for Lost Conclusions was again recorded mostly at home studios, but additionally the band made use of a friend's desert cabin in Wonder Valley, California, and it seems this willingness to retreat from the city has lent an expansiveness to the tracks, in particular the spacious, ceremonial 'Silent Prayer' (written in a snowbound mountain cabin in Idyllwild, C.A.) and the crepuscular 'She's Stuck in an Endless Loop of Her Decline' (mapped out under the stars in the desert).
While the addition of strings (contributed by Lauren Chipman of The Rentals and The Section Quartet) and trumpet (Stewart Cole of Edward Sharpe and The Magnetic Zeros) provides a double rainbow of tonal textures throughout, the nine tracks of Slow Dawns for Lost Conclusions are united by an understated elegance belying the newly expanded, communal effort in the studio: each instrument earns its place, nothing is overwrought or conspicuous. Moreover, it is McBride and Gibson's artistry in building stirring soundscapes from the barest of materials in their other guises that lends such assurance and sophistication to these arrangements.
The band is a result of the complimentary cross-pollination of Gibson and McBride's musical tastes - borne from a late-night conversation between the two that grew wings - and it is the universality of the sentiments and their restrained, reflective approach to writing and recording that allows the music to simultaneously straddle the past and the present. The music avoids pastiche, its pedal steel, sleigh bells and harmonies giving a nod to the ghosts of musical genres past, but never overriding or distracting from the emotional content of the sum of its parts.
The album ends with the glorious 'Take Us Away' - one of the first demos Gibson gave McBride when he was on tour with Stars of the Lid - neatly bringing their work to date full circle and exemplifying the band's mindfulness of their own serendipitous beginnings: the dawning of an auspicious, unique musical force.

Bell Gardens - Take Us Away -
Harmonies alert!! Actually, this is rather lovely. Slow-tempo, just the right side of 'twee' and packed full of strings, as if Air and Midlake had been taking balloon trips over the mid-West and sprinkling good-vibes dust across the land. From L.A. and subconsciously plugged into the '60s dream-pop scene, taking in a little bit of Mercury Rev and Brendan Perry en route, stopping off at Pearls Before Swine and Big Star's house for inspiration, before getting stoned with '70s era Brian Eno and Harold Budd.

After releasing his stunning debut "Diamond Days" on Traum and the follow up "Nothingness EP" Egokind told us he had the idea for an album already sitting in the back of his head.
To be able to convert all of his ideas he asked his long time friend and collaborator Ozean to work with him. For both of them "Transition" is their debut album, but both artists can draw on a lot of experience recording music from multiple genres.

The A1 track "Mega" is a track which illustrates Egokind & Ozean's approach to touch many grounds resulting in something gigantic. The track itself begins rather acoustic inviting you to the private world of Egokind & Ozean, before it becomes a joyous balearic tune that despite its wealth keeps slight dissonances coming and going.

"Every Time You Smile" is an energetic piece of warped music which swells and and then in the next moment is diminished to small islands of voices that turn like mad creating a new cosmos almost comical at times, but always very kind and gentle as well.

On the flipside "Light Realms" flows into "Silverbird" with no pause: "Silverbird" then opens the curtain and lets the sun fill out the whole room with yellow golden rays. Egokind & Ozean then unfold a garage house track which makes small turns but stay very organic and warm.

And "Everybody Dance Now" by its title makes things very clear. Egokind & Ozean have crammed all their skills here into an hi-energy dance track, still keeping one big surprise to come halftime, when they decide to leave the trail of club culture by introducing a fantastic acoustic intermezzo, juggling and bending their sounds to the max.  

In Musik und Text verschmelzen über alle 11 Titel hindurch Stimmungen, Eindrücke der Sub-Sahara Konzert-Tour von B.Friedmann 2013 und Fetzen von Erinnerungen an eine imaginierte Zukunft. Sie reagieren auf reale "Kpafuca" - "things falling apart" - Zustände afrikanischer Metropolen und kollabieren zu Grooves und Phrasen, die an Chris Marker´s Science-Fiction-Apokalyptik ( "La Jette"/ "Sans Soleil" ) erinnern. In dieser Polyphonie der Un-Orte schwingt auch der Geist reisender Klangabenteurer, zB. der musikethnologischen Praktiker Hartmut Geerken und Roman Bunka (Embryo), deren Visionen und Musik-Wirken sich gegen reduktionistische, essentialistische Inszenierungen sträubt. Gegen jene kulturellen Landkarten, die in die Musik immer wieder zwanghaft hineingezeichnet werden, setzt Friedman auf "Cease To Matter" im intuitiven Modus die befreiende Kraft des Rauschens, der Über-Mensch-Maschinen-Musik, der krummen Beats und des technischen Zufalls-Defekts, kurz: das "Un-gehör-sam" (Johannes Ismaiel-Wendt) gegenüber der normativen Deutungshoheit musikalischer Weltkarten.

Die Stimme des aus Texas stammenden in Berlin lebenden Performers und Vokalisten Daniel Dodd-Ellis wirkte bereits 2007 auf Burnt Friedman´s Album "First Night Forever" (non22). Die Lyrics stammen von beiden Autoren und wurden von Friedmann während der Produktionsvorgänge 2013 bis 2014 mehrfach zerlegt und neu zusammengesetzt. Die Zeile "Sky Is Blue Inside Of You" ist dem 1932 erschienenen Roman "Brave New World" von Aldous Huxley entnommen. Tracks 04 und 09 ("Cease To Matter") enthalten ein Piano Sample Edit basierend auf einer Komposition von Georges Invanovich Gurdjieff (1872-1949).

The III Rivers juggernaut sets forth once again, release number 4 The Charivari EP, putting Voiceless in the cockpit and leading the charge.

Second Nature sets a dark, sultry and ominous tone as Voiceless deploys a plethora of sounds and moods that resonate with all the tense drama of the label's affiliated club night, Bohemian Grove.
Big laser beam synths dart through a thick pitch black haze while a factory line percussion section hammers on.

Always keeping a foot in the sonic warfare division, we get three locked grooves loaded and ready for battle, funky, electrified technoid wobblers that should fight off most opposition with ease.

Flip the disc and Opt-out opens with a controlled urgency as a barrage of kick drums sets the train in motion. Voiceless layers up rich, untreated piano chords against the backdrop of dark industrial chaos, percussion artefacts career around the mix and various elements are put through an aural meat grinder before the familiar and welcoming piano motif returns like a long lost friend, guiding us through the smoke hand-in-hand. A beautiful juxtaposition of soulful melancholy and cold, glacial machines.

Final track Charivari really hits the accelerator as a tough and mechanical rhythm jolts against blurred, radioactive pads and searing string lines before collapsing into a fractal breakdown introducing mystical, weaving high end leads. An eyes-down fist pumper of the highest order and one that commands excessive smoke & strobe light abuse late, late into the session.

One to close off one of their infamous soirees in style, hoards of mutant dancers leaving the industrial backdrop of the club's venue and crossing paths with the early morning dog walkers and Sunday strollers. Four releases in and we've lost none of the quality control, unique drive and free minded 'true spirit' (to quote Tresor's legendary catchphrase). The label goes from the strength to strength and with it, brings a whole new generation of techno shamans under their wing.

Pulshar return to Desolat with another stunning long player filled with a selection of sumptuous productions that further demonstrate their grasp over intimate and deeply ethereal electronic music. Vinyl version of 'Blood and Mathematics' features the originals and instrumentals via download code, and is perfectly timed for when the days begin to draw to a close. Barcelona based duo Sergio S. Vidal and Pablo Bolivar have cemented the Pulshar name and reputation as proponents of dub-heavy, soulful and at times psychedelic electronic music. Their first Desolat long player 'Inside' received critical acclaim and effortlessly bridged the gap between the dance-floor and the home listening environment. They returned to Desolat in 2013 with a deliciously deep and trippy EP in 'Different Drum', and now continue their relationship with the label with 'Blood and Mathematics'. Pulshar continue their affair with Electro, Instrumental Hip-Hop, Dub and Psychedelia. They have distilled this to create a distinctive and soulful brand of electronic music and the new Long Player represents where the artists are in 2014. All the tracks are written and produced by them, with only Guti as a featuring artist on 'Running Away'. This has resulted in them cultivating a traditional 'album' experience where one track effortlessly segues into the next and takes the listener through a range of emotions across the record. Blood and Mathematics is a contemporary electronic music listening experience that will be revisited again and again.

Poker Flat is gearing up to celebrate fifteen years strong, with a series of releases that will assure their standing as one of electronic music's best known and most loved imprints. Poker Flat's unwavering dedication to the finest underground house music has unearthed new talent, developed rising stars and welcomed veterans into the fold, and the first of the label's 15th anniversary compilations brings together four of the brightest leading lights of the scene. With four seminal labels - Raw Elements, Dessous, Traffic Signs and Poker Flat - to his credit, Steve Bug has little to prove, but the tireless artist has never been a slouch on the DJ and production front, as he's proven time and again. Tracks like 'A Shot In The Dark' showcased his musical chops, and tied together elements of classic warehouse sounds, deep and sophisticated production and an uncompromising techy edge. The anniversary reworking of the tracks made for 4 Jacks boasts the remix talents of Taylor, whose sleek approach chops up the old school piano chords of the original for a bumping, more streamlined result. Another smashing new remix features in the form of Boris Dlugosch's 2012 acid-disco-house hit 'Sweet Talk". Here The Organ Grinder crafts a bass-heavy monster with a walloping kick drum and syncopated handclaps that enhance Boris' acid melodies and make it rough and ready for underground tastes. Two brand new productions round out the Jacks package.

At once foreign and familiar, Desert Sound Colony brilliantly scores a nostalgic journey through the proverbial looking glass. The plaintiff vibe of "The Way I Began" envelopes the listener in warm guitar licks and hushed vocals, transporting them to a time when innocence and insecurity gave way to transcendence. The road takes a turn with "Fire Egg", a classic stomper that drives introspection with looping guitar melody and bouncy bass. And before we return to size, "Iris" carries us further inward with scattered claps and a skipping kick, before releasing us into a deep and chugging, eyes-wide-shut, euphoric roller.

The acclaimed and highly sought-after LP by Hailu Mergia and the Walias, Tche Belew, an album of instrumentals released in 1977, is perhaps the most seminal recording released in the aftermath of the 1974 revolution. The story of the Walias band is a critical chapter in Ethiopian popular music, taking place during a period of music industry flux and political complexity in the country. Hailu Mergia, a keyboardist and arranger diligently working the nightclub scene in Addis Ababa, formed the Walias in the early 1970's with a core group of musicians assembled from prior working bands. They played Mergia's funk- and soul-informed tunes, while cutting 45rpm singles with various vocalists. While the Walias performed at top hotels and played the presidential palace twice, their relationship with the Derg regime was complex, evidenced by the removal of one song from the record by government censors. Decades later, Hailu Mergia was surprised to see the album fetching more than $4,000 at online auctions (it helped that the most popular of all Ethiopian tunes "Musicawi Silt" appeared on the record). Now everyone has the chance to listen again - or for the first time - to this timeless pillar of Ethiopian popular music. // 01. Tche Belew 05:01! 02. Yemiasleks Fikir 04:04! 03. Yikirta Lemminalehu 03:35! 04. Musicawi Silt 03:49! 05. Lomi Tera-tera 04:07! 06. Woghenei 03:58! 07. Ibakish Tarekigne 04:00! 08. Birtukane 05:30! 09. Eti Gual Blenai 04:59! 10. Yenuro Tesfa Alegne 01:46!

This is the record of the year for us. GoldFfinch are mindblowing on this one, it's their very first move in this direction and the reusult is just brilliant. This is DJ material that cannot be overlooked, all three gorgeous tracks out on vinyl in September as part of our Clubwerks series.

Within the infinite flow of quality emotional techno, GoldFinch have geared up to follow the fine sonic trail lead by the likes of Life and Death, Innervisions, Ten Walls and many others bringing together the massive appeal that only impeccably crafted techno can draw.

We just want this music played where it can be heard by everyone. Endless love.

FINAL PROGRAM was a pioneering Scottish minimal synth band, formed in Sterling in 1978. The first version of the band consisted of Richie Program and Anne Droid who went fully electronic when EDP launched their first affordable synth, the Wasp, and guitars were ditched. This LP entitled "Robots, Rockets, Radiation" is comprised of all 12 demo tracks and the original 7"EP tracks, making this a rather comprehensive work. Pure and raw, yet playful analogue synth bliss including the hits "Phase One", "Automaton", "Mechanic Dancing", finally a vocal version of "Protect and survive", as well as a cover version of The Stranglers' "Hanging Around" and an interpretation of Burt Bacharach's "Raindrops (keep falling on my head)".

Erlend Øye is a skinny nerd, but maybe that's what makes him a pop star. His huge thick spectacle-lenses act as an interface between his inner life and his numerous collaborators and fans. Erlend Øye is a travelling singer-songwriter, who has been making music in various constellations since the late nineties. He sang for Röyksopp, while his own bands are Kings of Convenience and The Whitest Boy Alive, who recently split up. A laid back, everyday vibe runs through Erlend Øye's music. Erlend is not larger than life, at the most his songs may be. The pop star from next-door doesn't make any drama, but leaves that to life itself. His relaxed, laid back sound opens your eyes and ears for places, situations and encounters. A certain mournfulness runs through the songs, although they deal with a longing for self-fulfilment. Erlend sings of loneliness, and in doing so, he creates a 'we'. Until now Erlend's projects have often been based on simple concepts - two guitars and two vocals with Kings of Convenience, and four instruments with The Whitest Boy Alive. With his new solo album he frees himself of these parameters; for the first time everything is possible, for the first time Erlend Øye stands alone. The songs on 'Legao' were arranged and recorded with the Icelandic reggae band Hjálmar.

The magic of 'Legao' lies in the fact that Erlend's vulnerable vocals and his sincere lyrics are supported by the elegance and consistency of the band. Today roughness is often used to counterbalance roughness, whereas on Legao a equilibrium is sought - and found. A simplicity, clarity and minimalism is created that is rarely found in pop music. Erlend Øye has grown up. He accomplishes nothing less than the step towards an independent, free-standing solo musician, who can perform in any constellation - with a band, orchestra or alone with a guitar.

Crooked Man is Richard Barratt from Sheffield, better known as Parrot. He was first off the blocks playing house music in Sheffield back in the 80s, had a top 10 hit in '88 as part of Funky Worm, collaborated with Richard H Kirk on the seminal Sweet Exorcist releases on Warp and had another top 10 hit in the 90s as part of The All Seeing I.

Retiring from DJing, a few years ago he started putting out 12" singles as Crooked Man. Song-based and devoid of house music vocal clichés, often epically long, always full of character, endlessly hypnotic and with razor sharp production they would always cut through in every DJ set they were played in. Twitch was an instant evangelist of the Crooked Man sound and is delighted to now present his debut Optimo Trax 12" EP.
Vocals on A1 and A2 by Rachel. Vocals on AA1 by Pete Simpson.

In what will certainly be ranked as one of his most intriguing releases so far, Kompakt staple MATIAS AGUAYO not only takes a quick breather from his commitment to Cómeme, but also opens up fresh and exciting paths for him to explore with his music: LEGENDE is both the continuation and alteration of Matias' well-established aesthetic canon, drawing from all stages in his production career und ultimately synthesizing various sonic strains into a wholly new listening experience.

Having established a firm artistic presence in the annals of electronic music through iconic collaborations like Closer Musik or his genre-defying solo work, MATIAS AGUAYO is an artist well known for his deep investment with innovation in club sounds and a keen sense of the varying social context that informs them. This led to the inception of Cómeme, internationally acclaimed label by day, breeding ground for the revolution by night, sonically and otherwise. One can safely assume that - besides constant performing and travelling - this makes for a pretty busy schedule.

A collection of tracks formerly released on 7' vinyl only by Dance Drugstore Records in the Netherlands. The original coloured 7' singles were released in the period from 1994 to 2000 in small limited editions quickly sold out around the world. Check!!

My Panda Shall Fly AKA musician and visual artist Suren Seneviratne, is set to release 'Tropical' It's a brand new 6 track vinyl release.

A kaleidoscope of rainbow textures and rhythms disperse into the exotic soundscape of 'Tropical'. Electronics, real folk instruments and noise-making objects feature here generously on this six-track concept album, blending together a sonic palette influenced by a rich variety of music, people and places.

The material was initially written over the course of a few months during what Seneviratne called "a beautiful burst of inspiration". Working with veteran producer Asier Leatxe Ibanez d'Opakoa (Electric Lady Studios, NYC), Seneviratne then set about disassembling all the songs and re-working them meticulously, enriching the sounds by adding a huge range of live instrumentation, before processing the audio through vintage analogue studio gear.

Suren Seneviratne, born in Sri Lanka before settling in London in 1996, first caught the attention of the music world with a remix that featured on Pitchfork back in 2010. Since then he has released a plethora of diverse records, gaining support from the likes of Clash Magazine, The Fader, Mixmag and Dazed Digital, as well as regularly touring internationally. He has also remixed the likes of The Weeknd, Stay Positive & Little Boots as well as appearing at festivals like BBC Hackney Weekender, Outlook Croatia & Glade as well as performing at prestigious venues such as The Design Museum, Tate Modern & Barbican.

With the release of 'Tropical', My Panda Shall Fly has yet again set himself apart as one of the most unique contemporary electronic musicians around today.

Scuba Death is Ricardo Donoso's alter ego. With more of a focus on analog sound, percussion, sampling, and location recordings, there is an organic undercurrent on Scuba Death recordings that isn't as prevalent in his solo work. This music is rich in atmosphere while still tethered to the deeper ideas that Donoso often explores in his work. Treatises on fear and death­anxiety, the underlining thematic framework for the project, run rampant throughout these claustrophobic electronic passages, and teeter on the edge of being oppressive. Nitrogen Narcosis marks the first full length and strongest statement in the Scuba Death repertoire after the privately issued, ruthless 'Demon Seed' twelve inch back in 2011. The album alternates between surprising lethargic dance inflections all nestled between 75 & 100 bpm, the normal resting heart rate for adults, and the more conceptual, numbness­inducing pieces like '50­-70 Meters' and 'Nociception.' Sequencing plays an integral role on Nitrogen Narcosis as the listener is suddenly thrust into the darkest reaches of the ocean after dark alley grooves are sucked into an aquatic abyss. For a project named after Donoso's near­drowning experience in the South Atlantic when he was younger, there's an impressive amount of reflection & vulnerability present - the field recordings that permeate throughout the album were captured at the same location the undertow caught hold of him that bright Summer day 20 years prior. An inner battle between paranoia and euphoria is played out in well­conceived, precision sonics on Nitrogen Narcosis as Donoso reminds us to look back, break through the surface and go deeper.

Petter B delivers an outstanding new EP on Drumcode proving that Swedish techno is thriving! The first track which, is a collaboration between Petter B, John H & M.E.E.O, uses an arpegiated synth before storming to the main section of the track and breaking down the doors.

The gliding synth sounds really fire with all guns blazing to produce a techno monster that growls. Petter B's next two tracks involve two solo offerings that are heavily techno based.

'Voltage Controlled Time' uses raw distorted drums and a catchy synth line to really give the track a lot of energy and power.

Boogie-down cosmic funk from late-seventies Nigeria — like full-throttle Roy Ayers, at his most brilliant.
Jimi Lee Adams packs his inner Hendrix off to Funky Town; the horns are the horniest; Mona runs it all down with an irresistible West African tilt.
Afro-jazz scorchers, both sides.

Breaking through with The Sunflowers in Nigeria's late-sixties soul explosion, Mona moved to the US after the group's equipment was destroyed in a car accident. There she was active in the new jazz scene, before returning home towards the end of the seventies, and forming The Sensationals with guitarist Jimi Lee Adams. An unsung pioneer, Mona was Nigeria's first female pop bandleader.

Fifth in the series: all remastered at Abbey Road, cut at D&M, pressed at Pallas; and presented with a 24" by 12" full-colour poster.

Alexander Skancke makes his debut on Eskimo Recordings with the beautiful and compelling 'Found My Place', which will also appear on the forthcoming Green Collection. Deep electronic strings lead the almost melancholic yet balearic melody with luscious pads filling the low end and the infectious vocals from HEwrote flowing throughout for an overall emotive feel. No stranger to the label Vinny Villbass delivers two remixes. His first 'Tropical Mix' rolls with intricate percussion, sonic synths and plenty of groove, while his 'House Mix' is a deep house delight and one for the dance floor with a playful loop on the vocal and trippy synths. Local Berliner Oskar Offermann rounds off the release perfectly with his remix, adding a raw bass and sharp kick, with the warm synths and FX running throughout, this is another groovy addition for the dance floor.

The Jamaican Reggae duo Dave and Ansell Collins hit big time in 1970 when they topped the UK Charts with one of the all time classic reggae singles 'Double Barrel'.
It also became one of the first Reggae hits in the USA.
The distinctive chant of singer Dave Barker calling out the intro to songs letting the listener know what about to hit them is timeless.
He also carries a great soul voice that has added magic to many a great reggae tune.
Dave and Ansell are two talented artists that on their own have added so much to the reggae sounds we know and love.
But together they have made a name that will go down in history as one of the great duo's that came out of Jamaica and onto the world's stage.
We have compiled a set of songs that show the wide ranging talents of Dave Barker and Ansell Collins..
Time to Double Up...one more time........

Founded by Matthias Schildger & Carlo Ietri in 2013, Repeat is finally ready to conquer the world and bring it's sound to all music lovers out there.
The first imprint of the new label was made by Wigbert // Matt Star & Marvin (incl. Dorian Paic, Dragosh Rmxs) and is called - Play, Stop, Repeat'. It will be out very soon on vinyl and digital.
With the label comes a new booking agency which contains a nice mixture of already well known artists and a few fresh and talented ones.

Here a little overview what you can expect from the first release - Play, Stop, Repeat':


Wigbert - Destroy me:

Wigbert unleashes a monster of a track with - Destroy me' on the dancefloors worldwide. Powerful beats combined with hypnotic rhytmic and some dark vocals will shake your body for sure! This tune will destroy some speakers if you are not careful with the volume... :)

Dorian Paic Remix:

Dorian Paic transforms Wigberts tune into a more happy and melodic but not less uplifting setting with the addition of some nice piano chords. It will put some sunshine into your hearts!

Matt Star and Marvin - In the Trees:

Matt Stars long experience in production combined with the freshness of the very talented Marvin resulted in this deep and groovy track driven by some nice drums and a fat bassline. Dark Athmospheres meets broken beat dubbish minimalism is the best way to describe it.
This track will go straight to your bones!

Dragosh Remix:

Dragosh's interpretation of - In the Trees' is a more percussion orientated track wich will put a lot of smiles on the faces of dancers. Crispy, rhytmic and simply good.

And now, Play, Stop and REPEAT!!!

Two of Harvey Scales' finest recordings back to back on one 45rpm single re-issue. Trying to Survive is probably his most sought after release in the world of soul 45rpm single collectors. It is not only the rarity but quality though which makes this re-issue a must-have for all soul lovers who do not want to spend $1000+ for an original copy.