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Adonis' comically named "Endless Pokers" project is no joke, in fact, this is some serious Chicago ACID House!

Originally released in 1987 and featuring Adonis' trademark staccato drum machine rhythms, creeping acid lines and cowbells "The Poke" is a classic (Watch out for those vocal stabs too!).

All 3 mixes featured on this 12" bring something new to the table, twisting and turning that acid line into a frenzied buzz. This is pure old school business, Chicago style! Raw, simple box jams of the highest order! A definite essential, a record like this in the right hands can produce some devastating effects and still sounds incredibly fresh today.

Re-mastered, re-pressed and brought to you in conjunction with DJ International Records.

The iconic and seminal Amebix album remastered and with sensational brand new design
CD features bonus unreleased live CD
Album has been out of print for some time and has been a constant seller even 30 years after its recording oAmebix reformed briefly in 2009 and recorded the highly acclaimed comeback album sonic mass to global praise
New liner notes by The Baron oUnseen photos

Roberto Auser presents the second installment on his independent label. Auser and his team combine music, video, artwork and performance creating a mindbending experience. Disturbing, horrific and liberating at the same time ... touch your fear! A real Roberto Auser signature sound in a high quality. With previous releases on Viewlexx, Bearfunk and others, this one comes in a carefully designed, beautifully silkscreened and hand numbered artwork by the man himself. Check out the sickest blend of moog music and occultness!

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.

Davide Squillace, the Italian DJ and producer behind the This And That Lab and Hideout imprints, has kept up a hugely productive schedule since the 1990s, and lands on Luciano's Cadenza Music this fall with the 'Goiânia' single release. Previous musical output on a multitude of labels such as Primate, his own Sketch Music & Minisketch labels, Ovum, Supernature and M_nus has also seen the artist collaborate with plenty; Guti, Martin Buttrich and Philip Bader among those who he has conjured up some inventive and dancefloor-centric minimal electronic music with. On the lead track 'Goiânia', Squillace opens up a highly musical pot of orchestral stabs and brass hits, morphing bottom end and freestyle synth licks, cavorting around a steady percussive beat to great effect.'Blossom' comes heavier in vibe, but maintaining the classical atmosphere developed on the EP's opener. Pizzicato synths play a call and response with dramatic strings whilst an electro tinged drum pattern and sizzling hats lay the foundations of a track with more than a nod to the classic house sounds developed on labels like Innervisions and Ibadan. 'Unit 9 closes the release, and Squillace goes on a Galactic ride through meteoritic bleeps and humungous pads for a cosmic and pacey techno number, dubbing it up midway for a most enjoyable ride and a fitting closure to a classy release on Cadenza.

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!

With his new album "What's Fruit", Schlammpeitziger touches the dancefloor more than ever before in his 22-year long career. Yet his dancefloor is a playful one. The Cologne based composer's sounds electrify with their multi-layered melodic structures. He weaves countless details in perfection, to a high density of musical activity, always focusing on the slow, driving beats which hold everything together. Each of the eight tracks represents shades of the unique humour we love about Schlammpeitziger: The tricky question about what's those things we call fruit, or his mantric German lyrics on "Schneid ein Stück aus der Zeit" are charming messages which never fail to be heard in the guise of those lovely synth hooks. This new Schlammpeitziger disco has its source in a situation which does not quite promise relaxed creativity: In the past year Schlammpeitziger's studio in Cologne has been surrounded by construction works. Locked up in his private space between massive hums, squealing saws and pulsating jackhammers, he delivers this indeed relaxed album with eight tracks. It comes across with the freshness of a debut work. Contrary to his previous records which had been mostly made with analogue synths, this album has been produced with iPad synths at 90% of the time, before taking the mixes to Stefan Mohr's (ex- member of the band "Workshop") mixing console.

This next release demonstrates exactly what can happen when you merge a formidable heavyweight with one of the genre's most promising talents. Jaguar Skills needs little introduction; he's infamous for his ninja-like DJing skills with years stacked behind the decks.

As a result, it was no surprise the artist tried his hands at production alongside Chord's impressive musicality. Already unstoppable from its conception, 'Lust' could only be released on an imprint known for its high quality. And RAM Records is proud to unleash this toe-tapping, catchy piece of sonic artwork on the dnb community...One that's already taken the radio airwaves by storm.
Opening with a rhythm that curls itself around your aural senses, prepare to be pulled into 'Lust' by its funky groove and well-chiselled hooks. The vocal delight of Matti Roots really brings light to the seasonal feel this track creates; an arpeggio of notes underpins each high-hitting voice crescendo. Bright but not without substance, Chords' production style is instantly recognisable. This debut from Jaguar Skills serves as a perfect platform for the high standards this mix-maker is about to set, as well as the benchmark which Chords has already carved.

On the flipside, Break holds onto the A-side's sunny disposition, yet throws down a riddim that hits as heavy as a freight train. The foundations laid by the producer are slightly different, as it rattles forward with clinking percussion, alluding to the kind of drop Break is renowned for. With his distinctive, boundary-pushing drum rolls and bouncy, booming and concise hits, there's no mistaking a sound which adds another dimension to the remixes' original.

You're also served up with another dish which is vastly different from house-guru Monstro. like the previous edit, the record's humanism winds up within the first thirty seconds, however the seismic impact of its drop rolls out into a house-bassline that thumps with every bar. A genre transition which doesn't fall short of the original's production prowess, prepare to hold onto your seats because this serves as the optimal way to wrap up two striking remixes of an already impressive track list.
Dominating playlists for years to come, this release from RAM is yet again taking the genre to another level. But considering the parties involved, there was no other direction for this record to take.

PAULINE MURRAY , LEGENDARY VOCALIST OF MUCH LOVED PUNK BAND PENETRATION.
GUEST MUSICIANS JOHN MAHER (BUZZCOCKS) and VINI REILLY (DURUTTI COLUMN).
PRODUCED BY THE GOD-LIKE MARTIN HANNETT.
ARTWORK BY PETER SAVILLE AND TREVOR KEY
LINER NOTES BY JON SAVAGE
The double vinyl edition also includes a bonus CD featuring instrumental versions of all the album tracks (a must for students of Hannett's unique production sound), along with alternate takes of key singles.
Les Disques du Crepuscule presents a deluxe remastered edition of Pauline Murray and the Invisible Girls, the debut album by post/punk icon Pauline Murray, produced by revered sonic architect Martin 'Zero' Hannett.
Recorded at the famous Strawberry Studios in July 1980, the album offered epic electronic pop written by Pauline and partner Robert Blamire and marked a radical departure from their shared past in pioneering punk band Penetration. 'This is sophistication,' enthused Paul Morley in NME. 'Lovely songs of anxiety, malaise and self-doubt.' According to Melody Maker the album was 'unquestionably a musical highpoint of this year or any other.'
As well producer/arrangers Martin Hannett and Steve Hopkins (aka the Invisible Girls), the album features a stellar cast of guest musicians including John Maher (Buzzcocks) and Vini Reilly (Durutti Column). Indeed Pauline Murray and the Invisible Girls presents almost a Factory record, exquisitely sleeved by Peter Saville and Trevor Key. Stand-out tracks include the popular singles Dream Sequence and Mr X, with the newly remastered Hannett tracks now augmented on CD by a wealth of bonus material including non-album singles, live recordings (from tours in 1980 and 1981) and a John Peel session (1980). The liner note is by Jon Savage.
'It's a bit of a missing link album,' says Pauline today. 'Written and recorded after punk, but before Martin Rushent and the Human League made airy pop respectable again. We chose the other Martin in 1980 because we wanted the incredible sounds he achieved for Joy Division and Magazine. Thundertunes, basically.'

Absys Records is proud to present the labels 7th dnb vinyl outing ! For this release, we have stellar music by our long time Italian comrade, Arp XP backed with a collaborative effort courtesy of Belgian duo Glyph and Canadian veteran, Gremlinz. This release is diverse, showcasing very different aspects within the Drum & Bass spectrum while maintaining the quality and craftsmanship associated with Absys.

The A side Seems Like by Arp XP, is a classic, laid back, liquid track flavoured with a touch of Jazz. It is a nod to old school and reminds us of the lightheartedness of summer with its congenial and atmospheric tune progression!

The flip sees newcomers Glyph (who are creating quite a buzz in the scene) team up with acclaimed veteran, Gremlinz, resulting in a beast of a track! Much like the flip, Evolution is touched by an element of Jazz, kicking off with a vibe that will conjure up a sense of being in a dark lit Jazz Cafe. Following a memorable sample referencing the apple in the Garden of Eden, the tune does what the name suggests and evolves into a trippy stomper that will pummel any system, making this one of the highlights of this years Absys releases!

Out soon in all good stores with a digital bonus in the form of Mesmerize by Glyph!

For his Carpark debut, Saint Pepsi takes a step away from the more genre-shuffling styles of his Internet releases to focus his skills on high-power pop. The title track of the "Fiona Coyne" 7-inch is an uplifting tribute to fantastical romance and the joyous dreams pop culture can provide

dedicated to promote young and evolving artists and to present musical diamonds in the rough, raster-noton is curating the unun series, which name derives from the atomic numbers of the chemical elements 111-119. »vortices« is ueno masaaki's first release on raster-noton, and the seventh release of this series.ueno masaaki takes his musical cue from natural phenomenon and laws of nature by trying to reconstruct, not simulating them. the results are mainly rhythmical patterns that set off a chain reaction, expanding and contracting and creating new formations all the time.the four tracks he presents on the EP are characterized by solid sound structures that appear to be very harsh and straight, sometimes even brutal, whereas the high pace even intensifies this impression. apparently repetitive at first sight, the tracks are in fact highly complex and intelligently arranged, presenting unforeseen breaks and shifts in direction.

Third in the Fire Department series, this 12' vinyl compilation pulls together an awesome selection of smoking old skool disco funk - guaranteed party-starters every one. Kicks off with some serious squelching bass in the form of Roadway's up-tempo boogie monster 'Let's Go For It', a rare-as-hens'-teeth track released on the sought-after Chocolate Cholly's label back in 1982. Next up is General Caine's superb instrumental 'L.R.J. Pop', a relentless funk groover out of LA driven by the tightest percussion, pumping horns and some magnificent wigged-out bass and synths. Turn over for the 12' version of Clifton Dyson's brilliant bumping boogie cut 'Slow Your Body Down' followed last but not least by the über-rare 'Skate Party People' from Bobby Cash Redd, a heavy-as-hell funk jam with a fierce strident b-line, high-voltage synths and guitars originally released on tiny NYC label Duval. Red hot - don't miss!

No sleep for those guys at Shabby Doll Records.

Not long since Nail's Lost Trax 1997 sold out shortly after going on sale, and they are already about to drop SHB014...
This time Shabby Doll bring a killer package from two of the most highly respected men in house music today - South West Seven. South West Seven are Montel and Sean Grieve. These guys have a track record to die for.

Their collab label 'Seven Music' has released tracks from the likes of COEO, Rhythm Operator, Giovanni Damico, Death On The Balcony and of course the man Montel himself. As a production duo, they’ve released on labels Kolour Ltd, On The Prowl, Sccucci Manucci, Carry On, and Solardisco.

But when Shabby Doll came calling, shit got serious. The result was three shimmering new cuts, on yellow vinyl no less.

It's a vibrant thing! The EP is BT1. Strong. P.S. And just when you thought it couldn't get any better, along comes Shabby Doll favourite, 'Quell' on the remix.
Angelic.

This double-header from Glen Goldsmith takes one of the best UK soul tracks of 2014 ('Don't Delay') and couples it with a brand new song 'London Skies'.

'London Skies' is mixed by Soul Talk, the team who reign supreme in the soul world right now with their work for Paul Johnson, and Lisa Stansfield among many more.

Glen Goldsmith comes to Expansion following a career that began in the late 1980s with RCA Records ('I Won't Cry' was a UK Top 40 hit, 'Dreaming' reached even higher in the UK Top 20)

'London Skies' was made for Glen's own Soul On Soul label and acquired by Expansion for both a single and a position on the forthcoming compilation 'Soul Togetherness 2014'.

The Martin Brothers are pioneers of the Nigerian Funk and Afrobeat scene. Besides many releases under their own name, as the Tabansi Studio Band they lit up innumerable recoding sessions — it's them on Pax Nicholas' Na Teef album, for example; and the same team is behind the legendary Saxon Lee & The Shadows International LP.

Money is the Martins at their deepest and heaviest — tearing, wailing, mid-seventies funk, heady with spirituality. Superbad from start to finish with no let-up.

Original copies are amongst the most sought-after of all African and funk records on the international collectors' scene. It seems there is just a tiny handful of copies at large.

The tracks were originally laid down at Ginger Baker's ARC recording studio in Lagos and later mixed down at London's Tin Pan Alley Studios. The audio restoration and remastering for this re-issue was done at Abbey Road.

NDATL continues with new tracks crafted by Brett Dancer known for his deep productions and being the creator of seminal label Trackmode. After a long hiatus he returned about year ago with the highly sought after Euphonic Moods EP. Now he he comes with three stormin deep tracks that encompass the Dancer sound. The title track 'Hybrid' is a hypnotic journey that dance!oor will enjoytaking. 'Someone' is a lost dub of the hit by Kai Alce & Phil Asher feat Kayenne released on Restless Soul in 2010. Here his rendition takes a very warped sublime aproach and with a little help from Glenn Crocker aka Glenn Underground this one will de"nitely set a mood. Now 'Something' rounds out the 12' with straight dance!oor mover! The light & uplifting key work & bouncin bassline shows Brett's ability to keep it deep and bumpin.

Richard Fearless unleashes his shamanic cosmic trip with Gamma Ray, an obsessively crafted techno track of the highest order. Stark minimal analogue magic.
Dutch master Legowelt delivers a stunning remix; the depth, texture and atmosphere he injects into the tracks completes an exceptional second release from Drone.

Trek With Quintronic are the duo, formed from the ashes of prog rock band Masque in 1979. They recorded two pioneering albums of unique electronic rock. 'Landing Plus' compiles the complete discography of Trek With Quintronic on a double vinyl for the first time in over 30 years. Trek With Quintronic wrote songs with a powerful sound, myriads of compositional ideas, synthetic noises and catchy melodies. Paul's rather unique vocals lie somewhere between David Bowie and Richard Butler of the Psychedelic Furs.nThis collection highlights a lost duo with a big sound on par with Ultravox, Human League, OMD or Devo

Italian DJ & Producer who relocated in Dublin in the 90's before coming to prominence with a series of productions for great labels like Uzuri, Osgut Ton, Million Of Moments to name a few. Now for the thirteenth release of HotMix, realizes a special EP with four Techno/Hypnotic tracks highest level

During the '70s, work days at Umiliani's Sound Workshop Studios were hectic; thousands of sessions were held in order to keep up with a very busy Italian movie industry: Hundreds of soundtracks alongside with music library were recorded and released on vinyl in very limited quantities for TV and film production use only. Those LPs are now proper collectors' items, extremely hard to find.

Filled with hypnotic bass lines, heavy drums and screaming fuzz guitars "Underground", the first LP of the fictitious group known as Braen's Machine, is one of the rarest and the most expensive of them all, always "reaching" sky high prices throughout the second hand vinyl market. A fast-beat jam with hammond scales and a twin lead guitar theme ("Flying") opens the A Side soon followed by "Imphormal", a classicfunk-beat-meetsfender- rhodes-and-psychedelic-guitar number. The music then switch to "thriller territories" with "Murder" which is based on prepared piano swells and a deeply hypnotic walking bass, reminiscent of the best Morricone's soundtracks for Dario Argento's movies. Two highly percussive songs complete the A Side: "Gap" is an improvised song with guitar and keyboards dwelling over an infectious drum rhythm while a marching snare and a vibraslap effect are the special features on "Militar Police".

The mood relaxes slightly on the opening of the B Side with a lazy jazz groove on "New Experience" but the rock influences are soon brought back on the following track "Fall Out". "Obstinacy" is all about keyboards with syncopated rhodes themes and distorted hammond sustained notes whilst the fuzz guitar is back again screaming through the left channel on the last song of the album, "Description". We could happly say that that was the golden age of the Italian music library. But who's behind the name "Braen's Machine" On the original cover the songs are credited to the composers Braen and Gisteri. Braen was a pseudonym often used by Alessandro Alessandroni, an extremely skilled and versatile musician, and one of Umiliani's closestcollaborators. He could write, conduct and arrange, he could sing (ever heard "Mah Na Mah Na"), he could whistle (ever heard Morricone's "For a fistful of dollars") and he could play almost anything: guitar, bass tuba, accordion, sitar and the list grows..... His first album "Alessandro Alessandroni e il suo complesso" (Sermi, 1969), had transformed the Italian library music from orchestral sound beds into the psychedelia we all love; the extremely fuzzy guitars are very "present" on "Underground" too. For a long time Gisteri's real identity was rather mysterious; often wrongly attributed to Umiliani. Gisteri was the pseudonym of Oronzo De Filippi, art name of Rino De Filippi, music supervisor to the Italian public broadcast company (RAI) between the '60s and the '70s. De Filippi composed other notable pieces such as "Riflessi" (Edipan, 1975) and "Nel mondo del lavoro" (Sermi, 1972).

De Filippi passed away few years ago but we were able to contact Alessandroni to talk about this LP. Remembering "Underground" recording session as one of the thousands he took part of, Alessandroni told us that this record was produced very quickly, in two days maximum. This was made possible by a team of wonderfully capable session musicians and the creative genius behind the mixing desk; this incredible combination helped to focus on the mood of each track even more. Unfortunately there are no liner notes but Alessandroni's memories and speculations, based on other music tracked in the same period at Soundworkshop by resident engineer Claudio Batussi, led us to identify this as the most probable lineup: Munari on drums, Majorana on bass, Vannucchi on keyboards and Alessandroni himself on guitar. For this reissue the sound has been restored and the cover art reproduced exactly as it was.

Big Strick and Generation Next follow up their highly successful CD album " Like Father Like Son" with a vinyl double album. It features 7 songs from the album along with a bonus track from Generation Next. With vocals tracks featuring Don Q and Tony Coates, Next and Strick bring us flavor and funk. ' The Ride' features Tony Coates, bringing lyrics for the soul. Along with the warm vocals is a warm bass and moving percussion. 'Ypree' is the bonus track produced by Generation Next. It is a mellow, hard hitting underground track. Hard drums and loud claps. Reverbed high hats and repeating congas.

3 strong deeper high quality house tracks from Barcelona's Baldo and a dope Andrade Remix! Baldo is one of the front figures in Barcelona's underground scene. His previous releases on Subwax Excursions, Waehlscheibe, Good Ratio and Street Knowledge has gained a lot of attention among many of the worlds top underground house dj's. Watch out for this guy, he is the future folks.

The second of the Decadub vinyl-only releases dedicates three of its four sides to a volley of woozy and twisted footwork from most of the key members of Chicago's Teklife crew. Side One starts with DJ Rashad and Gant Man's squiggly 303 banger 'Acid Life' and moves onto Taso & Djunya's Darwinian banger 'Only The Strong Will Survive'. Side Two descends into DJ Spinn's bombastic 'All My Teklife' and then Earl, Rashad & Taye's 'Bombaklot' which takes Hyperdub full circle with a yardcore bomb like a 2014 upgrade of the label's early days. Side Three leads with DJ Earl's immaculate diva vocal cut-up of 'I'm Gonna Get You', then moves on into DJ Taye's fizzling R&B jam 'Get Em Up' and the stone cold, warped humour of 'Icemaster' by Heavee. On the fourth and final side, Tokyo-based ally Quarta330 returns to craft 'Hanabi', an epic, uptempo synthesiser jam. Young gun Champion follows with 'Power Cut', its minimal, energetic and militant kicks and bass molded with cowbell and lots of tight edits, before dropping some neat keys and a warping bassline two thirds in. Ikonika finishes things off with the solemn march of 'Tug Zone', opening slow but building in flickering high hats and gaseous cymbals into a track which could have emanated from Battlestar Galactica.

Among a thousand projects, Para One is back on the dance floor with 'Club", a new album which was not meant to be one, but believe it or not: it's serious stuff! 'The 'Passion' album is the background for this, as I decided to reshape it for my live act, explains Para One. I've rebuilt the tracks entirely, making live versions for festivals and bigger clubs. Then I found myself with a totally different album. It's not a live album. The tracks have been modified and reinterpreted. It's my tribute to Soulwax's 'Night Versions". Subtlety was not really an option, it had to hit kind of hard. The tracks had to sound real in a club situation and people are now meant to dance to them! It's also a 'treasure hunt' kind of record with many references. It sounds like my DJ sets, when I mix many things and styles, old and new, because that's how a club should sound. It's a place where memories belong.' The pop, melancholic and highly danceable 'Passion", was meant to be listened to at home or on quiet dance floors, but 'Club' only retains the melodies and vocal hooks. It smells like sweat, joy and abandoned bodies. Packed with English acid house piano, huge beats, elegiac vocals, references to UK Garage, EDM filtered french touch and house, 'Club' dives into the heart of dance music. It's a 3.0 rave emblem, a daring record to make people dance without selling out.

We Make Releaseinfo After the glorious release of his first studio album 'Disconnect to Connect' in 2013, Steven Tang is back with another lovely package of Hitec-Soul. Inspired by his new residency in Berlin the Chicago-native builds up three highly grooving sound seducers which will be part of his live set at Panorama Bar on May 31st . Join Steven Tang at leaving the physical world!

Nomine's third release on Tempa, following last year's spooked-out Nomine's War, is Enma / Zen Circle / Mindfulness. Containing his most expansive and exploratory music to date, pushing his already intricate and varied sound to new depths of atmosphere and intensity.
As their titles attest, the three tracks here are intense meditations as much as they are club firepower. Drawing equally on his love of UK sound system music and formally experimental composition and sound design, they further highlight Nomine's status as one of the most adventurous new producers operating in electronic music today.Lead track 'Enma' blasts from the tracks in flurries of metallic drums and plucked sino-grime esque melodies, an atmosphere heightened further on 'Zen Circle' whose reedy pipe motifs stalk through the mist like figures through a haunted forest. 'Mindfulness' rounds the EP out with shadowy, delay cloaked digital dub, riding out atop clustered kickdrums and roughly effected drums.

'You become responsible, forever, for what you've tamed", Antoine de Saint-Exupéry writes in his modern fairy tale 'The Little Prince', in which his protagonist travels through various worlds in search of friendship and benevolence. The quote is, no doubt, fitting for Niko Schwind, since the Berlin-based DJ and producer consistently demonstrates a deeply anchored love for and close bond to house music, the art form he himself has tamed. As a DJ, he travels the globe, having played in Europe, Australia, Thailand, Brazil, the US and Mexico, and in his sets he creates a feeling of connectedness between himself and others, as well as within the crowd. On Stil vor Talent, Niko Schwind now presents the fruit of his labour in the from of his third album: 'Grippin' World' captivates the listeners with its versatility and coherence, and kidnaps them to a world of sound, made up of elegantly reduced grooves, organic arrangements and accessible vocal-melodies. With 'Perfect Fit', the first single of the album, we are handed an absolute highlight, as Heartbeat's warm voice and a simple guitar-loop form a flawless musical symbiosis, accentuated by a synthetically creaking bass-line. Niko thus proofs he's more than capable of practicing restrained Minimalism with a pop-impact. 'Perfect Fit' then gets the floor treatment: while Niko turns in a reduced, tool-oriented club cut, the hitherto unknown Proud bursts onto the scene with a dreamy arrangement centred around atmospheric synths on his remix. Grippin'!

After his wonderful eclectic Fences Album in 2013, John Roberts is back with a brandnew Clubsingle on Dial Records.
Here again the sound design benefits from the acoustical researches and experiments John Roberts works on since years. With the A-side's Ausio he creates an enchanting floorsmasher- highly recommended by the angelic crowd of our favorite clubs Panorama Bar and Robert Johnson.
On the B- Side you will find the classic John Roberts Sound: two soulful groovers, unique and timeless.

Fatima Al Qadiri is a multidisciplinary artist and musician from Kuwait. In just a few years, she has quickly built a reputation as a conceptual artist, exploring themes informed both by her own background and global pop culture, through a number of highly acclaimed EPs, multimedia projects and writings. She is also a founding member of the production team Future Brown. Fatima's debut album is called 'Asiatisch', and as the track titles suggest, the record provides a simulated road trip through an imagined China. Musically, the album is an homage to that quietly influential sub-strain of grime, often loosely termed 'sinogrime' due to its preoccupation with Asian motifs and melodies, pioneered by the likes of Wiley and Jammer at the beginning of the 2000s in East London. 'Asiatisch' is a provocation which asks more questions than it answers. The title is the German word for Asian. Unlike its title, however, the music on 'Asiatisch' revolves around the fantasies of East Asia as refracted through pulpy Western pop culture, in particular Hollywood, literary fiction, music, cartoons and advertising. Fatima asks what is meant by the term 'Asian' in a digital age of viral interchange and the hi-speed trading of cultural bytes; the concept of 'shanzhai' proves pivotal, a term whose meaning stems from a wild, out of control zone of banditry, but which has come to be used to refer to the Chinese counterfeiting of Western brands and goods. While a number of producers have made takes on 'sinogrime' over the last few years, 'Asiatisch' is really the first record that attempts to articulate this weird complex of sonic interchanges between the West and China. With the exception of the opening track, 'Shanzhai', a haunting cover of 'Nothing Compares to You' with nonsensical Mandarin lyrics, and the shimmering 'Loading Beijing', 'Wudang' and 'Jade Stairs' which sample and distort classical Chinese poetry staging an epic confrontation between China's ancient soul and the onslaught of the industrial factory machine, most of the tracks blend mallets, bells, gongs, flutes, steel drums and choral atmospherics with the searing synth-brass and the skittering drums of grime, playing melodies that are inflected as much by classic R&B as to synthetic versions of traditional Chinese music. On "Dragon Tattoo" for example, stereotypical iconography of imagined China is slotted into a threatening, robotic R&B format. The carefree pirating of Western brands blurs into a soft-synth pirating of Chinese musical signs.'Asiatisch' is wrapped in pristine artwork by Babak Radboy from Shanzhai Biennial, and the music was given a 3D sheen by in demand mixer Lexxx. Proclaiming both its love of both ancient and imagined China, 'Asiatisch' is a rare album that is both icily beautiful and conceptually layered.

You Know Who You Were Multi-faceted producer and DJ Ben Westbeech has accomplished something that eludes most artists - after ten years in the industry he successfully stands with 'one foot in the underground, one in the commercial' - and nowhere is this more apparent than on his first release on Aus Music as Breach which see's Ben digging deeper than ever before. After a year of high-power, unshakably catchy chart topping singles ("Jack' and 'Everything You Never Had"), a killer collaboration with Naked Naked cohorts Dark Sky and a well-received DJ-Kicks mix, Breach indulges some of his more underground and experimental tendencies on the 'Artis' EP. Bringing in bits of his past (the exotic, colorful vibe of 'Fatherless' can be detected in the lush atmosphere of 'Artis") along with some sounds newer to the moniker, Breach gets beautifully moody here and will once again keep people guessing as to what's coming next...

Following the release of virtuoso new singles Mr. Cover Up and No-Operative across January and February, seminal DnB duo State Of Mind are to present their fourth album, Eat The Rich, on March 31st. To be released by Black Sun Empire s Blackout imprint, the album celebrates some of the best work of their career to date, underlining their remarkable pedigree and with it, their ability to fuse darker, hard-edged sounds with genuine dance floor mcredibility. Famed for their rugged basslines, steely percussion and huge, driving synth lines, State Of Mind also showcase different sides to their craftsmanship on Eat The Rich, with a number of vocal features taking centre stage. As well as NZ
rapper PercIEve s appearance on the storming, tear-out anthem Mr. Cover Up, the duo also join forces with promising songstress Sacha Vee on the wonderfully eerie Black Raven; although still bullish in style, it highlights a softer, more thoughtful side to State Of Mind. Heavyweight second single No-Operative is also an album highlight, as are further future dance floor anthems like Where You At and Put It On, as well as two unique collaborations with fellow revered DnB figureheads Black Sun Empire. To compliment the rich diversity of sound on offer, the idiosyncratic, breaks-driven heat of Fast Life and the outer-worldly, synth-laden intro on U Control Me complete what is a stunning, career-defining album.
With a European tour in support of the album set to commence in March, ahead of further headline dates in Australia and New Zealand throughout April, Eat The Rich is set to cast State Of Mind into the spotlight like never before.

Vincenzo returns to Dessous Recordings with something a little special. 'Merry Go Round' features the stunning vocal talents of Language aka Kaori Kaneko, a haunting, drifting and highly affecting piece of music that sounds like nothing else. Kaori already released two albums on Japanese Crue-L Records as Kaori and three albums with her band Language on Madoromi / Atari Productions and was also featured on the Chi Chi Squads classic 'Treat Me Right'. Built on dreamlike, evolving pads and textures, the vocals are reminiscent of the best work of Tracey Thorn, rising and falling over the 7-minute duration of the original mix. After some minutes a crisp, chugging, mid-tempo beat develops and lifts the track yet further, a moment perhaps best enjoyed at sunrise. The Reprise Mix is a totally beatless mix, emphasising the pads, guitar and piano work. The third track sees Axel Boman on remix duties, who primes it for the dance-floor with a loopy, hypnotic rework that retains the original character but adds a visceral, gritty quality for the dancers.

Visibility Is A Trap is the new EP by Dalhous, comprised of four originals together with a masterfully understated Regis remix of 'He Was Human And Belonged With Humans'. The EP heralds the arrival of the Edinburgh-based project's sophomore album, Will To Be Well, due out on Blackest Ever Black in early Summer 2014. Dalhous first announced its existence in 2012 with the Mitchell Heisman 10', and last year released its debut full-length: An Ambassador For Laing. Both Visibility Is A Trap and the upcoming Will To Be Well LP reflect writer-producer Marc Dall's continued interest in the language and imagery of self-help, R.D. Laing and the anti-psychiatry movement. Though recorded after Will To Be Well, the tracks on Visibility Is A Trap at first appear to have more in common with the blue ethereal drift of Ambassador. While 'Information Is Forever' and 'A Change Of Attitude' are firmly in the ambient mode, 'Active Discovering' fizzes with arpeggiated energy, and a battery of percussion disrupts the calm surface of 'Sight Of Hirta'. Something is up. All is not as it seems. The Regis remix of Ambassador highlight 'He Was A Human And Belonged With Humans' finds Karl O'Connor in unusually pensive mood. In fact this near-beatless, dubwise version is unlike anything he has put his name to before. Discarding the rhythmic skeleton of Dalhous's original, he gives their weeping saxophone more space to roam and resonate, adding off-beat, sleep-deprived keys, murmured vocal fragments and swells of sub-bass pressure. It could be construed as a love letter to his former home in West Berlin; certainly it evokes and effortlessly updates the drugsick grandeur of later Neubauten or Low side 2.

Limited White Vinyl Pressing!
While some of you might think of Planet Rhythm as one of those old labels from back in the day, it may not necessarily be the correct judgement. Not only is it a product of its past achievements, but it's also pushing things forward in the present time, with Woo York being one of a few new artists emerging from the imprint's recent catalogue. That said, 2014 starts with Ukrainian duo taking over Planet Rhythm headquarters as the label's proprietors and getting in charge of all of its future development.

First out of press is the duo's own EP highlighting their shift towards brand new, hardware-driven studio setup. From abstract TB-303-ish structures of Acid Rain, through the building peaks of Analogue Swamp, a perfect example of stripping functional techno, to Come Closer's uplifting trance-y melodies and the closing sequence of Strobe 1, this record is shaping up to be Woo York's strongest release to date.

Bavaria is John Tejada and Kimi Recor. While We'll Take a Dive is the first for the duo's newly cemented partnership they have appeared as guests on each other's releases for nearly a decade. The duo decided to exclude any extraneous instrumentation so that Tejada could focus solely on his modular synth programming while Recor took on the role to provide that all-too-vital human element by way of her silky vocal delivery. In theory We'll Take a Dive might sound like an exercise in minimalism, which couldn't be further from the truth. The album highlights the duo's deftness in getting maximal use from their instruments of choice while creating a superb darkly-hued electronic pop album that showcases its own unique strain of affecting tension and restraint.

With this ep 4lux introduces you to the sounds of underground Belfast. One of his dj-trips brought Gerd to this wonderful city where he was given a demo by local crew Schmutz. From that day on Slaned is one of the highlights of his sets. The Schmutz duo serve you with 3 dirty & mental house tracks. A hefty 4lux debut!

Matt O'Brien first came to our attention in 2005 with his Off-key Industries releases "Hidden High" and "Serotone", which would later get a license on Rekids. His first contribution for Curle was back in 2007 when he remixed Efdemin's "Acid Bells". In 2010 he made up the flipside to Dozzy & Van Hoesen's track on Curle 024.
After "Starting Over" in 2011, we're proud to welcome Matt back on Curle for his second full EP. Don't forget your scuba glasses, it's deep!