All Vinyl New Releases - News

After signing to RAM in 2007, the duo of Saul Milton & Will Kennard aka Chase & Status got working on their debut album for the label which ended up being the genre and crossover classic More Than Alot. Originally released in 2008, the album showcased not only their ability to craft amazing drum & bass, but also dubstep and even hip hop. With such anthems as Hurt You, Take Me Away, Pieces (feat. Plan B) and the club banger Smash TV. Over a decade later More Than Alot is still a firm favourite amongst fans and is pressed in full for the first time on pink and black marble vinyl.

Steppin’Motion has established itself as a hugely cultured label and event series. Its motto is “Music with a Soul, Connections & Discoveries”.

The art of DJing and a passion for the Vinyl medium are always the main focus and has helped earn Steppin’Motion a reputation as one of the most innovative brands in underground music.

Hailing from France, Chris Carrier is one of the rare artists always presenting quality, and yet who doesn’t seek to make his name bigger than the music itself. Inspiring a whole generation of artists in the process, he let his music do the talking.

With his Monsieur Georget alias, he explores the more minimal, raw and personal parts of his musical spectrum, offering the label its 4th release.

After a bike ride and a good glass of wine, Monsieur Georget likes to make music with love on his modular synth, always as his partner. Live for love and enjoy your freedom.

Vinyl Only. Limited

When referring to Scape One, it's obligatory to recognize that his work is wholeheartedly visionary.

Ominous bass lines, warped bleeps, and hiccup like high hats combined with perfectly harmonized chords and melodies form a groundbreaking type of electro sound very atypical to the trends.

Believe In Records as a division of MixCult Records features second release with an experimental assertion full of retro influences coalesced with the sounds of the future, seemingly responding to one another's frequencies in perfect congruence.

The high demanding collectors cannot miss this release.

Last time he brought his Emperor Machine project to Leng, via the seductive, call-to-the dancefloor that was ‘Dance Par Amour’, Andrew Meecham had vocalist Severine Mouletin in tow. On this welcome return to the label, Meecham has enlisted the help of another sublime singer: Bom Carrot 봄캐롯, lead vocalist with South Korean punk-pop outfit Tirikilatops.

Although the pair share a mutual friend, who had extolled the virtues of a potential collaboration to Meecham, it was only when Bom Carrot 봄캐롯 reached out on social media that the pair were finally connected. Meecham jumped at the opportunity to kick-start a collaboration, quickly firing over a track he’d been working on. A few months later, her vocals landed in his inbox and the rest, as they say, is history.

The resultant track, ‘춤춰 Chumchwo – Let’s Dance’, may feature many of the aural trademarks of Meecham’s Emperor Machine work – spiralling analogue electronics, vintage synth sounds, effects aplenty and infectious grooves inspired by New York’s no-wave movement of the early 1980s – but is somehow even more thrillingly wild, excitable, and exhilarating than you’d reasonably expect.

A big part of that, of course, is the inspired contributions of Bom Carrot 봄캐롯. Her freewheeling vocals – part sung, part spoken, and part improvised – are energetic, distinctive, and addictive, adding layers of post-punk abandon and a genuine sense of musical freedom. Combined with Meecham’s outrageously unpredictable backing track – there are twists and turns aplenty, as well as surprising percussive and musical touches that seemingly appear and disappear at will – the resultant song is like the unlikely sonic lovechild of Talking Heads, YMO, Pierre Henry and K-Punk.

As you’d expect given his track record of delivering freewheeling instrumental reworks, the vocal version comes backed with an extra-special Emperor Machine ‘Instrumental Dub’ version. Stripped back and percussive, with dropouts and breakdowns aplenty, this is no mere vocal-free take, but rather a reconstructed revision piled high with extra percussion, spacey electronics, echoing vocal snippets, bubbly bass and razor-sharp Tom Tom Club guitar licks –all arranged to rise, fall and rise again around Meecham’s killer groove. As the track’s title suggests: “Let’s Dance!”

Jonas Kopp pumps the drums hard on opener 'Shibu'. It is pure peak-time material, fit with siren-like synths, heavy kicks and hi-hats to get the shoulders moving. Kopp's tracks are always masterfully tailored for the dancefloor, and this is no exception; the six-and-a-half-minute ride is richly detailed with ups, downs and subtle changes. Dadub take the record deeper with 'Force Continuum Abuse'. For the first three minutes of stretched soundscape, the percussion warms up with sparse and off-kilter hits. The track's second half sees fierce breakbeats cut through the walls of reverb, and with that can Daniele Antezza and Giovanni Conti really show-off their unique talent at sound design. They blend a gift for rhythm and titanic production to engaging effect. Eomac begins the B-side with 'I Am Starting To Believe'. The track's echoing synths hang free in a spacious mid-range, intermittently making way for long chords and elusive vocal snippets. Eomac draws on the light/dark contrast and unsettling motifs that made his Monad release special, and delivers a techno epic so rich it requires repeated listens. Last but not least, Chevel; his sound is distinctive amongst the SA roster, mostly due to his acute focus on the percussive elements and intriguing take on minimalism. On 'Alicia', he works a groove out of tripping drums and metallic perc, all with a UK-influenced flair that lends itself to a wide range of DJs. Chevel's track ends what may be the most varied collection of 'Chapter V' material yet, leaving a lasting reminder of the depth and quality of artists SA have accrued.

Archie Hamilton is next up on Dansu Discs with his ‘Kick It’ EP. Includes 2 remixes from label regular Harrison BDP on the flip side.

It’s club ready and it’s large…

Blue Hour and Norwegian Trance collective UTE, team up for the succeeding collaborative release since last year’s record with Fast Forward Productions. Omformer, Marilao, Mikkel Rev and Oprofesionell rework original music from Alpha Tracks, Dold and Tracing Xircles creating an immersive and kaleidoscopic experience.

Colin Chiddle’s Art of Dark releases its 12th EP. British producer Bufobufo gives his 1st release to the label.

For the second release from Zen 2000, a new imprint out of L.A. focused on supporting and cultivating sounds made by friends wherever they may reside, we present you with another 7-inch of slow-motion burners that crackle like a sparkler weaving through the brisk night air.

Two tracks appear on the the record—classic A-side and B-side on a 45. The lead, “Promise,” is a psychedelic yet spare star-gaze accompanied by airy vocals and a wiggly 303 that's on downers. The Samo DJ remix takes it to a dubby place, some elements submerged in a deep pool, all torqued and twisted, others placed in an enormous cavern, all echoes and clean-lined drums that ricochet off the walls.

For the digital edition, there are two extras: an extended dub from Samo as well as another cut from Damon, this one a piano-accompanied glide through sun rays high above the fluffy clouds.

Scottish DJ Ewan McVicar is tipped for big things, having found support in the likes of Annie Mac and Fatboy Slim. After a stellar year crowned with a release on the hallowed Nervous Records, he makes his debut on Shall Not Fade's "Basement Tracks" series with five explosive earworms.

Amnocairn EP collects the most classic sounds from the dancefloor and melts them together, styles blending throughout songs to keep listeners on their toes and dancing. The title track is a sweeping marriage of insistent house piano and washy dub techno synths, leading into the sugary, hardcore "1001 Freestyle" that calls back to early Lone tracks. Then one for the after hours crew, "Ha Mez", a syncopated 303 techno roller.

McVicar keeps the party atmosphere close across the B-side, flexing laser-cut synth arps with a dark, big-room edge on "Stu Boy", before crowning the EP with a gorgeous sun soaked party number "See U Thru My Eyes", jazzy inflected house with a 90s aesthetic. This EP has something for everyone, bringing together eclectic influences into a smooth festival-ready record.

let's remember to culture beat - mr vain

Electronic group Pale Blue returns to Damian Lazarus' label Crosstown Rebels. Dive stems from the pair's upcoming album on the imprint, which will drop next year. Remixes from Fort Romeau and Rebolledo feature on the EP, adding another layer to the shoegaze-tinged tune.

The title track opens with Elizabeth's soft vocals and a dreamy synthline, evoking a hazy but potent soundscape. On Fort Romeau's remix, the Oxfordshire native offers a Tranceadelic Mix of the track, combining tribal-flecked percussion with an understated bassline, allowing Elizabeth's lyrics to dominate the atmosphere. Rebolledo pens an acid melody and transposes Elizabeth's vocals to an alien-like pitch—perfect for a tripped-out listen.

Jersey-born Mike Simonetti is one half of the musical group Pale Blue and the founder of labels Troubleman, Italians Do It Better and 2MR. With over two decades of experience working as a producer and DJ, Mike has released previously released on Crosstown Rebels, Correspondent and Me Me Me amongst others.

UK Born Fort Romeau merges the tones of house, kraut, ambient, disco, and techno across his work, releasing on Permanent Vacation, Mesh and more. His album Beings of Light dropped on Ghostly International earlier this year, affirming his status as an innovative artist. Mexican DJ and producer Rebolledo is one-half of the electronic duo Pachanga Boys, but as a solo artist, his sound bounces between sun-kissed house and strutting disco. Tracks on Correspondent and Hippie Dance highlight his boundless approach as a producer.

Green Marbled Vinyl

Phyxix is a collaborative project formed by Ø Phase and Matrixxman.

Z@P returns to Cabaret Recordings for 28th release.

recut und repressed !

VINYL ONLY !

No Rush second release is a split EP that includes Arapu and Simone Adinolfi, each of them expressing a personal feeling about the antithesis of time, seen like infinite as much as just a moment.
While Arapu is showing elegance in Morning Clue with its deep and airy melodies and a more decisive and funky touch in End Of That using his special bassline blended with outstanding scratchy sounds, Simone Adinolfi gives a more melodic and warm imprint in Levantyne, where hypnotic pads are permeated by dreamy piano chords, and then gets more gloomy and raw in Relapse, showing his introspective side.

Fresh new signing for the Slow Life stable, coming all the way from Sweden. On his first ever release, the talented Basement Space presents his approach to the very recognizable mix of breaks and deepness which the label is mostly known for, but giving his personal flavor. Overall, the EP has a strong influence of the classic UKG/2step sound, rounded with a cheerful jazzy track on the B-side.

If anyone deserves to have the name Don, it’s Don Carlos. Responsible for one of the most influential and genre-defining deep house tracks of all time the Italian legend more than lives up to his name being a true master of his craft. In 1991 his debut release Alone was presented to the world via Calypso Records and quickly gained classic status, blissing out dancefloors worldwide with it’s euphoric piano stabs, sun-drenched strings and laidback groove. Establishing the blueprint for what would become known as ‘Italian dream-house’ Don Carlos would follow up a year later with another masterpiece in the form of a mini LP entitled Mediterraneo which took influence from the Chicago master Larry Heard but added a European ‘Balearic’ perspective which would pave the way for a wave of warm, emotive late night house tracks emanating from Bel Paese.

Don Carlos releases have been fairly sporadic since his seminal early 90’s output so Freerange is very happy to bring you brand new material in the form of the I’m Steel Here EP. Across the three original tracks we get to hear him revisit the vibe from those early years whilst bringing things bang up to date for todays DJ’s and dance floors. The title track marries a driving Italo synth bassline with trademark Carlos strings and piano to form an uplifting club track which will lift the spirits of all who hear it. Azimuth comes next cutting up and filtering a piano hook calling the mighty Trackheadz to mind, a gated vocal sample adding a distinctly 90’s hook for a nostalgic slice of regal house. Closing out this gem of an EP we have In The Sky which loops up a classic feel good disco riff for a mid tempo house jam which bumps along nicely and will create the perfect mood in any warm up set worth its salt.

Label co-founder, Gremlinz, returns to his imprint with the kind of spine-tingling B-Boy darkness that only he can play. ‘Ratchet’ sees cascading amens, deft break chops, amazon drum taps, tumbling 808, and an-omnipresent dread inducing atmosphere, saturating the entire affair. Heads down, elbows up! On the flip, Cern, successfully harness the emulator, squelchy funk of the brothers Quinn for ‘Second Thoughts’ with taut beats and bass, evoking late 90’s Fortan and pre-Wormhole tech noirfuturism.

It's been over 10 years since the release of Gui Boratto's breakthrough full length debut 'Chromophobia'. As to what its title suggests, he shook up the techno game with a contrast of lushly coloured minimal grooves and melody, whilst many will recall that the album included the highlight single Beautiful Life' which became a dance floor anthem for that era. Four albums in and countless EPs and remixes under his belt, the Brazilian producer's unique savoir-faire in carving out a functional album out of diversely routed singles and features is back at it on his fifth studio LP, 'Pentagram'. Here Gui Boratto lays down a nuanced 12-track narrative that reinvigorates his signature sound into a refreshingly different perspective that feels all too familiar - including the return of Beautiful Life' vocalist (and Gui Boratto's wife) Luciana Villanova on the single "Overload".

Through his signature kaleidoscopic approach, Boratto delivers an album built as a far-reaching hub-and-spoke system, broadly inclusive as can be. From the opening cut, 'The Walker' - hot on the trail of Tears For Fears 'Elemental' (one of Boratto's "favourite 80's bands") - to the hi-NRG euphoria of 'Forgotten' and its pounding tech alter ego 'Forgive Me'. "I was going into 2 different directions", Boratto says, "the typical indie- electronic-rock' Boratto kind of production like It's Majik' or Like You' and a much more techno approach." He goes on, "I decided to split them into two twin sister songs. When I play live I always put these two songs together."

The Brazilian Producer further embraces the pop-friendly essence of his past work on tracks like 'The Phoenix', featuring vocalist Nathan Berger, and 'Overload', both melding acidulous synthlines with laser-precise breaks, vox hooks and drops calibrated for extended radio and club use, although sieved through his distinctive rainbow-hued musical prism. For the symbolists out there, the album's pared-down closer '618' duration accidentally happens to equate the proportions of the said pentagram. "Coincidence" Boratto questions, and capsulises, "not so ufanista and supporter of Brazilian neo-concretism, but I guess the brazilian sculptor Lygia Clark also inspired me a lot. Not the meaning of her sculptures, but the shape of the hinge of most of her work. I've wanted to transmit the scientific pentagram's point of view. It's not a religious kind of thing."

Whereas 'Spur' (a field-tested 808 and 909-heavy "purist track", "very, very old school" Boratto insists) and 'Alcazar' are sheer smooth-edged four-to- the-floor epics, the album also shares its lot of startling moments, such as with the John Barry'esque 'Scene 2' (with a hint of Amon Tobin, 'Easy Muffin' style, throw in) and its refined string-laden buildup, 100% fitted for a 007 opening credit sequence, or with 'Hallucination' (feat B.T.) and the further James Holden-ish title-track 'Pentagram' (think 'The Idiots Are Winning'), "one of those exercises I did when I got my Buchla modular synth" Boratto analyses, "I think I've used more then 30 different snares, with different delays and reverbs. The whole song is alive". And so is 'Pentagram' in its entirety: alive and definitely just as manifold and hopeful as its architectonics are the stuff of science and dreams all at once.

Es ist zehn Jahre her seit der Veröffentlichung von Gui Borattos bahnbrechendem Debütalbum - Chromophobia . So wie der Titel vermuten ließ, war das Album mit seinen kontrastreichen Minimalgrooves und den üppig gefärbten Melodien ein Schocker im besten Sinne. Ihr erinnert euch sicher noch an die Hit-Single - Beautiful Life , eine Dancefloor-Hymne aus dieser Zeit. Nach vier Alben und unzähligen EPs und Remixen ist das einmalige Savoir-faire des brasilianischen Produzenten, aus vielfältigen Singles und Features stimmige Alben zu schaffen, auch auf seinem fünften Studioalbum - Pentagram zu hören. Hier legt Gui Boratto ein Zwölf-Track-Narrativ vor, das seine Handschrift auf erquickende Weise wiederbelebt. Wiederbelebt wird auch die Stimme von - Beautiful Life (die der Frau Gui Borattos gehört) auf dem Stück - Overload .

Durch seinen charakteristisch kaleidoskopischen Ansatz liefert Boratto ein Album, das gebaut ist wie die Speichen deines Fahrrads, von dem Opener - The Walker - direkt auf der Spur von Tears For Fears - Elemental (einer von Borattos - favourite 80's bands ) - zur Hi-NRG-Euphorie von - Forgotten und seinem stampfenden Counterpart - Forgive Me . - Ich bin in zwei unterschiedlichen Richtungen gegangen , sagt Boratto: - den typischen ,Indie-Electronic-Rock'-Weg wie in - It's Majik oder - Like You und den Techno-Weg. Er fügt hinzu: - Ich hab mich entschieden jedem Track seinen Zwillings-Track an die Seite zu stellen. Immer wenn ich live spiele lege ich die zwei Stücke zusammen.

Der brasilianische Produzent erschließt weiter die Pop-Essenz seiner vergangenen Arbeit auf Tracks wie - The Phoenix (feat. Nathan Berger) und - Overload . Beide kombinieren zwitschernde Synthi-Melodien mit lasergenauen Breaks, Hooklines, Drops und sind wie gemacht für die Rotation und den Club. Und für die Symbolisten da draußen: die Länge des reduzierten Closers - 618 beträgt zufälliger Weise genau die Proportionen des besagten Pentagramms. - Fügung , fragt Boratto und fasst zusammen: - Ich bin kein Anhänger des brasilianische Neo-Konkretismus , aber ich glaube die brasilianische Künstlerin Lygia Clark hat mich sehr inspiriert. Nicht die Bedeutung ihre Skulpturen aber die Form der meisten ihrer Arbeiten. Ich wollte den wissenschaftlichen Blickwinkel auf das Pentagramm übersetzen. Nicht im religiösen Sinne oder so."

Während - Spur (ein erprobter - purist track auf der Basis von 808 und 909, - sehr, sehr old school , wie Boratto betont) und - Alcazar glatte Vierviertel-Epen sind, hält das Album auch Überraschungsmomente bereit. Z.B. das John Barryschen - Scene 2 (auch eine Spur von Amon Tobins - Easy Muffin ist darin zu hören) und seinem Streicher-Aufbau, der hundertprozentig geeignet wär für eine Eröffnungssequenz in einem Bond-Film. Auch - Hallucination (feat. B.T.) oder der James-Holden-hafte Titeltrack - Pentagram (wir denken da an - The Idiots Are Winning ) wäre da zu nennen. - Einer dieser Übungen, die ich gemacht habe, als ich meinen Buchla-Modular-Synthesizer bekommen habe, war , erinnert sich Boratto, - mehr als 30 verschiedene Snares, Delays und Reverbs zu verwenden. Der ganze Song sollte am Leben sein. Und so ist - Pentagram im Ganzen: lebendig und sicher genau so vielfältig wie sein Bauplan, der auch der Wissenschaft und den Träumen zugrundeliegt.

Highrise & Peaky join forces to create 4 huge tracks for PBR005,
Written in the PBR studio over a mad weekend in Leeds.
The A side brings 2 big energy UKG & Speed garage tracks, with the B side stepping up the pace for the slick & bass heavy ‘Listen’ and ending with some spacey, breaky, dubstep. ‘Marsha’s Champers’.

Limited to 1000
No repress
Hand stamped with love
140g vinyl

Last Magpie launches his new label Sounds Good Sound with the help from good friend youandewan - Kicking off with a brand new deep-house scorcher "Looking Through Windows” - showcasing the melodic house grooves he has showcased for labels such as Hypercolour, Me Me Me and 20/20 Vision. On the flip Youandewan remixes Looking Though Windows into a super deep house extended player with all eyes on the dance floor

Le Loup comes back to release his second on Cabaret Recordings.

Native Mexican Leo Leal debuting an 8 LP tracker on Binh’s imprint Time Passages! Exploring a dark fractal sound!

Superluminal sub-label Rediscovery is back for its 2nd instalment, while the world continues to be doomed by bacterological warfare, new recordings have been taken by Matthias, four brand new techno-hybrid dance tunes. Programmed with stripped down drums morphed in life by their

Division EP by Alexander Slush starts with a relentless march that is its title track, a military-themed piece that does not leave you many choices but to march along.

Track 2 Recoil introduces some resilience and an open-field feel, all “jump for joy” style but there is something weird and unhealthy about this celebration of sorts.

Hazard is a warning like the title suggests. The machine is dangerous and may leave you missing a limb if you are not vigilant enough.
Compulsion is a breezy track. Like freshly emitted exhaust fumes. Optimism is compulsory.
Vinyl + Digital - Limited

François X presents Digital Fever

More than 2 years after his last solo project, François X returns with an EP on his new platform, XX LAB.

Faithfully following the label aesthetic, the tracks precisely reveal key themes of loneliness and self-identity quest, translated into a sheer combination of ecstatic and murky feelings accompanied by body bumping grooves. Recorded prolifically during covid this record unveils an innovative approach to techno from François, by incorporating modern pop and rap productions techniques he has developed over the period such as arrangements and Vocal FX (all the vocals loops and FXs are his.)

There is a profound sense of creative freedom in how François X’s music has evolved recently. Shifting from academic techno structures in his previous work, to a more brutal and edgy aesthetic, François has definitely unleashed his productive spirit.

The opening track “Forever’ N' 'Fever' represents a prime example of this imaginative boiling mind, setting off the EP’s murky tone with its evocative trappish vibe. This driving effervescence brings out a remarkable plurality in the tonalities of the compositions, swinging between the prompt and fiery club-ready atmosphere of "Lone Wolf Cabin'' to the ecstatic and emotive chemistry of "Shame Stare". This paradoxical structure can also inform us about its creator, as a retranscription of the emotions that run through him.

The musical output will be accompanied by a limited edition, where François X takes us through his mind and emotions to explore the inner feelings behind each track of Digital Fever. Discover an oriented listening session narrated by the XX LAB representatives, with an edited soundtrack of the EP, released on an impressive 7’ square clear vinyl specially designed for the project. Limited to 50 copies.

Challenging his role as an artist, the selfishness that comes with it and the limit of his dedication, François X is acting as a contemporary cow-boy, deeply entwined with his utopian dreams.

After a stellar year of releases, Fred P’s Private Society gears up for another journey into the other. Starting with “Vol. 3: Music Is For The People;” an original Black Jazz Consortium track appearing on this EP as a Fred P Reshape. This one is accompanied by a reprise with an afro latin vibe that takes the tune into another realm. The B Side travels into more eclectic fusion as Fred goes deeper in to electronic hybrids. Good Vibration, a piano driven track, leads you to a peak feeling good and the mood evaluates through out going into over drive mid way with a dazzling solo by Slikk Tim. Closing out on Vol.3 is the track Profound Science hails back Fred P’s early days of visualization and preparations for what is a successful musical journey. Profound Science is lyrically forward with a baseline that describes determination; it is a rally for manifesting your future in the now.

The 8 track album features new collaborations with DJ Phil, Gantman, DJ Paypal, and Sirr Tmo, and a previously unreleased classic from 2013, co-written with DJ Rashad. WFM will be available in Vinyl and digital formats on September 7th 2018. Listening to WFM, the first thing that jumps out at you is Heavee's masterful use of synthesizers and sound design. You get the sense that these elements have been lovingly crafted during countless hours of sonic experimentation and invention in the studio. As Heavee explains, the primary focus on synths represents a departure from his usual creative process: 'Usually in my method of production, synths or sounds come somewhat close to last, likely after I find structure or rhythm. Basically, it's not something I particularly go for first, but this time around they became the building blocks'. Heavee has made a conscious decision to challenge himself, adopting a different approach to his past productions. In doing so, he moves away from the familiar sampling techniques which characterised his earlier work: 'I am a child of the last days of ghetto house culture as it shifted into juke/footwork. My parents, aunties, and uncles played house and ghetto house music at family functions, BBQs and house parties. That's my roots and where I came from. However, on this record, I chose to stray away from vocal samples, to give myself room to grow in different areas.' Heavee finds his voice in emphatic fashion on Cloud Ride feat. DJ Phil. His lyrical content and flow are on point as the track flips seamlessly from hip hop to footwork and back again. DJ Phil features on 3 tracks in total, a reflection of Heavee and Phil's close friendship and musical connection. As Heavee explains: 'Phil's studio is a safe space for me. Whether he is in the room or not, I don't feel weird about trying something that might be silly, taking it to the next level, or coming from a place of pure inspiration. Phil has historical, musical and cultural knowledge relevant to Chicago. He shares a lot of invaluable knowledge with me' WFM features It's Wack a classic collaboration with DJ Rashad that still sounds fresh today. Heavee remembers how Rashad would always stay connected, even during his relentless touring schedule: 'We'd get calls no matter where he was. We would talk about everything! He ALWAYS had new info; what new music was popping, scenes that were really accepting or supportive of what we were doing, blends that made the party go off, sites, adventures and just fuel us with support from him and give us living proof of the global support that was to come and the journey that was ahead of us.' Although Heavee makes music with the dancefloor firmly in mind, the sheer quality of his music transcends that space. So sit back and enjoy the next chapter in the Teklife story. All that remains is for Heavee to sign out with a message for the worldwide Teklife family: 'First, Thank you to everyone who supports what I do as an Individual, and Teklife Music as an entirety. You don't understand how much your support means to us, it literally keeps us moving. The takeover is far from over! Second, thank you to everyone involved in this project, I couldn't have made it without you. This process taught me so much about what it takes to become the person you want to be. It starts inside of you, and you have to really work for it, you can't wait and wonder. I feel beyond blessed to present this gift to the world, walking this journey of self -discovery through music with you!!!

We’ve patiently waited after LSW’s 2019 debut “Life Style West” and it was more than worth it. The Düsseldorf group is blessing us with their sophomore work “Mir Tut Alles Weh” — Everything Hurts. But why does it feel so good?

This 11-track double LP is guaranteed to be a hit in your local Stammkneipe. Packed with forward-thinking nostalgia, poetic impressions of western decadence, LSW are certifying that punk remains posh in the Federal Republik of Germany.
In an undeniably candombléan set up, Leonard Horres, Sebastian Welicki, Gregor Darman and Aki Vierboom continue their weird world building with a more mature sound. A holistic, detailed production that leaves you finding new elements at every listen.

Broken only by occasional melodic whispers, Horres introduces us to his city with ecstatic reiterations of his deepest, most deconstructed and sarcastically self-depreciating narratives. Dampened, forward-moving, industrial rhythms, orchestrated upon with live instrumentation and spherical synths pull us back and forth between dirty streets and the light clouds above. All with that chique nonchalance we cannot withstand.

Is this the new Deutsche Welle? Or eclectic Angstwave at its finest? Whatever,

MBM, italian Dj, musician and producer delivers his very first solo vinyl release on Insane Code Recordings imprint.
He signed the first V/A vinyl release of the label with his track “Blind”, and now he created “Niveo EP”: 4 original cuts and a special remix from his dear friend and homie Marthial.
A1 “Lovely Move” is an ambient intro with sequence on analog synth and processed with space fx that allows the listener to enter the sonic voyage of the release.
A2 Liberal is a perfect expression of the sound MBM wants achieve and deliver with this record. Hypnotic groove and melodic vibes, colored with dissonances and mistery.

A3 is Marthial interpretation of “Liberal”, creating a very solid and groovie remix with extreme producer personality.
Then on B1 the track that gives name to the EP “Niveo”: cold and winter sounds with hypnotic loops and drums for an immersive listening trip.

B2 “Alight” closes the release, offering more soft and delicate sounds the complete the path of the listener.

First solo Ep of the End Of Perception vinyl series comes from the Spanish techno sci-fi master ORBE which includes four original cuts.

Deep, raw and hypnotic sounds are the main character of this endless journey.

Ray Kandinski's much sought after jam 'Could You (Be Mine)' finally drops on vinyl via the E-BEAMZ label! Backed with 2 underground warehouse belters on the flip the tongue-in-cheek 'Lo Fi Is Dead' and the balearic 'Basement Vibes'.

Youngsta's Sentry Records has been at the cutting edge of Dubstep and Bass music since it's inception in 2017. The past five years has seen a plethora of talent feature on the label, with the releases finding their way into record collections far and wide.

Now you can pick up 10 releases from the labels storied back catalogue in one go, for a heavily discounted price. Enough to satiate even the most ravenous dubstep collector.
Includes :
SEN002 - Nomine - Stomp // Slip
SEN009 - Icicle - Raising The Dead 2x12"
SEN010 - The Others - Shaolin // Feedback
SEN012S - Cimm - Unknown Caller!! EP 2x12"
SEN013 - Youngsta ft. Killa P & Long Range - Progress / Instrumental
SEN014 - Boylan, Logos, Slimzee & U.S.F - Orders / The Mould
SEN015 - Cimm - Endo 2x12" Vinyl
SEN017 - Substance - Dreamstate
SEN018 - Cimm - Conman / So
SEN019 - LOST - Croydon Soundboy / Johnny Cage

Paris based Vitess dons his Vytamin alias for 4 tracks for sub-aquatic deep-breakbeat-house for UTTU - backed with a Nemo Vachez remix. Tip!”

Anthony Rother links up with Detroit heavyweights Keith Tucker and DJ Di'jital for a deep exploration of psionic robot engineering and extrasensory electro styles. Truly extending the work of Kraftwerk and others, Anthony, Keith and Lamont came to define electro in the late 90s and tirelessly continue to develop their sound to this day, culminating in the Psi Robotics EP - a cold scan of the minds of future machines and their hypnotic influence.

Techno Tribal shaker in the old school Planet Rhythm / Drumcode or Auk style.

BIG

Detroit's Filthiest’s first appearance on Deep & Roll imprint is probably his wettest EP so far.

The 4-track 12’’ starts with the banger « Deep Penetration » - a dancefloor killer with a unique vibe that will make you bounce dat ass. « Dnb Spacedrift » continues this smooth journey in the space brothel until you flip the script with « Midnight Special » - another sexy but more funky jam. And if you’re still thirsty « Soul Brotha #1» will definitely get you third base with the humanoid creature that just caught your eye.

Modularz owns 2019! Not only is it their 10th birthday this year but they’ve been celebrating by churning out releases like no man’s business. The label is headed of course by Developer who has steered the project to what it is today. This time the boss is back again with Roll Dann for Modularz 42nd installment Modularz 42. This is of course following up their Special Ten Year Anniversary Edition EP and the mammoth WAV10-95 18 artists synonymous with the Modularz sound.


First up on this devilish piece is Developer with two tracks that will invade your mind and make you succumb to the beat! He starts with ‘Ritual Master’ aptly named as he leads proceedings with a cut with prescribed order to entice body movement. It’s electrically charged with a rolling beat that sounds like plate pressing on a conveyer belt and has a mechanical synth that re-energizes things recurrently. He follows it up with ‘Lone Mystic’ who seems to be pottering about altering minds. It has banging percussions with pacey hi-hats and snares. However it’s the irregular pattern of the graveyard-like synth that feels like a psychological hazard.


Roll Dann follows up the master with two tracks of his own. ‘Secular’ has that bouncing double beat that gets feet hopping. It has those sci-fi beeping modulations and nuclear warning synths that add pace and panic like if the death star was going down. He ends the EP with ‘Soul Bag’now that this project has ejected you of your mind and moved your body it’s time to pay with your soul. It has a haunting synth that is reinforced by filtered percussions. They slowly build before sliding in but it’s the ghostly synths and deft keys that really leave an imprint.

A memorable name with an outstanding cover, Fuzzy Duck is a classic slice of underground London art rock and melodic psychedelia. Originally released on MAM in 1971, it’s truly a musical force of infectious riffs and fiery solos, sharp tempo changes, a tight rhythm section and heavy, Hammond-drenched grooves. With echoes of Spencer Davis Group, early Grand Funk and Vanilla Fudge, it comes on like a heavier Soft Machine or Caravan. No wonder Fuzzy Duck’s cult appeal has endured.

The album features Mick Hawksworth (Five Day Week Straw People, Andromeda) on bass, acoustic 12-string, electric cello and some of the vocal duties, and also Roy “Daze” Sharland (Crazy World of Arthur Brown, Spice) on organ and electric piano. Accompanying those two were Paul Francis on drums and percussion, and Grahame White on guitars and the rest of the vocals.

Originally released in an edition of 500, Fuzzy Duck became legendary all over the world through a holy trinity of scarcity, personnel and its sheer brilliance.

The album kicks off with a heavy, bass-fuelled, Hammond rocker titled “Time Will Be Your Doctor”. This is pure hard-edged blues rock, brilliantly played. Its drum break intro was sampled by DJ Premier for Gang Starr’s “Mostly Tha Voice” on 1994’s legendary Hard To Earn. And we can hear its personality all over Harvey and Thomas Bullock’s Map Of Africa.

Rollicking highlight “Mrs. Prout” follows. At nearly 7 minutes long, it incorporates more psych-leaning guitar and drawn-out keyboards à la Ray Manzarek with the band effortlessly switching from jazzy rhythm section to a progressive one. That magnificent instrumental jam that starts half-way and continues through to the end is a true wonder.

“Just Look Around You” is propulsive folk-rock with a soaring, proto power-pop chorus, backed by frenetic organ and heavy bass high in the rich, intoxicating mix. Back comes the heavy, strung-out psych to both close out side one with “Afternoon Out” and kick off side two with “More Than I Am”. Both tracks are improvisational winners that stylistically nod to the late sixties and “More Than I Am”’s guitar hook, catchy organ and memorable chorus would’ve surely made it a great single.

“Country Boy” quenches the thirst for rhythm and melody, only the lyrics and vibe are wonderfully creepy. The sudden cut of the groove and the drop into a more sinister tempo will make you stumble, before the band pick up speed and toss you back again into the opening jam, this time with a badass organ to ride you home. The final, fully fleshed out track is the majestic “In Our Time”, which oscillates between endless organ-driven boogie and heavenly, genuinely moving vocals. Just stunning.

Infamous instrumental cut “A Word from Big D” rounds out the album. Yes, that’s the band jamming with duck quack sound effects accompanying the music. “Ducking vocals” as the sleeve says. You know, just in case the whole “duck” theme had passed you by. It’s an appropriate closer for what sounds like an album that must have been *a lot* of fun to record. It’s definitely fun to listen to.

Mastered by Be With’s chief sound duck Simon Francis and cut with glee by the veteran Pete Norman, this reissue of Fuzzy Duck’s one-and-only LP sounds as mighty as it should. That unforgettable sleeve artwork has been carefully restored and the records pressed by the wonderful Record Industry in the Netherlands. Essential.