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Boytronic is a synth pop group from Hamburg, Germany. The duo began composing music as the soundtrack to sex shows on Hamburg's famous 'Mile of Sin'. Their first single 'You' was released in 1983 and became a Top 10 club hit in many European charts. 'Trigger Track' was released in 1984 as a B-­side. 'Bryllyant' was originally released as a B­-side to the 86 remix of 'You' on JDC Records. A Belgian DJ played the song at 33rpm and convinced the band to release this slower speed version in 1988. It became the band's second most successful release and a hit across Europe. This EP features both the 1986 U.S Remix and 1988 33 1/3 Plus 8 Remix of 'Bryllyant', as well as the original 1983 Extended 12' version of 'You' and a special edit of Trigger Track never before released on vinyl.

Compilation of mainly unreleased Aardvarck material from one of Rush Hour's favorite and dearest producers. It's a beautiful listen.
Limited Edition Of 300. Every sleeve is unique - achieved with a computer generated randomization process for each print. BIG TIP!

Singer, songwriter, composer and multi-instrumentalist, Desmond Coke's supremely rare, privately pressed, lo-fi, synth-soul fusion, Let's Chase The Sun is represented here in edited form. Painstakingly remastered from the original tapes, this self taught pianist, drummer and sax player condensed his musical experiences and dreams in to an opus on love and togetherness.

Desmond Coke alias 'Fatfingers' - named by fellow musicians due to improvisation and interpretation skills - began playing keyboards by ear at 15 and went on to a music career playing with the likes of Alton Ellis, Prince Fari, Barrington Levy, Dillinger, Don Cherry and Shara Nelson, as well as a gamut of the On-U Sound label's projects, including Creation Rebel, Dub Syndicate, Singers & Players and Mark Stewart + Maffia.

With an interest in reggae, dub, jazz, soul, meringue, gospel and garage, his sole album was a true fusion to create a brand new sound. Composed, arranged and produced by Coke, he worked with an array of seasoned musicians, including his own sisters Winifred (percussion / vocals) and Paulette Coke (percussion / DX-7 & M1 synthesisers).

Pressed on his own Saterlite Entertainments in 1989, Coke describes the album's purpose, "to get the message across to have focus, ambition, to dream and 'chase the sun'. That relationships are important, 'I need somebody' and naturally the chemistry is 'you and me'. Great relationships are about friendships and that it's ok to 'mesmerise a friend'. The most natural thing is to enjoy each other's company and to 'make a love child'. These good intentions and meanings, where love is the key." Some thirty years later Desmond's thoughts are as resonant today as then - Let's Chase The Sun.

Kiljoy grabbed Digital’s dubbed out classic, ‘Waterhouse Dub’, smashed it to pieces and pounded it back together to produce this monstrous and titanic beast. This track has received enthusiastic support from Goldie, Storm, Dj Marky, Ray Keith and more

Where the original Strictly DNB was hectic and dynamic, Sight Unseen’s version has added soul and a new Roots Rub-a-Dub swing.

Abducted - Digital’s Is This A Dream Remix harks back to his strange and experimental phase of the mid ‘90s, a time when he was restricted to a paltry 14 seconds of sample time to make a track. He had a great time stretching his skills to be able to make the utmost use out of any little samples he could fit in the sampler, whatever they were. The revival of this ethos spawned Abducted.

For WRXX3 its Holloway’s premier vinyl release with the label. The London based producer serves up five heavyweight steppers that showcase the darker side of UK Garage.

Opener “Ride Dem Tight Kutz” volleys chopped percussive and vocal elements around the hard-hitting bassline, setting the foundation for the remainder of the EP.

Just like the previous track “South” takes a moodier stance.

The sinking sub-bass tones coupled with a 2-step swing brings a lively feel to the releases emotive and darker timbres.

The melodic elements of “You & Me” fuse to form a murky soundscape, chords and pads rise and fall beneath an energetic bassline which wavers below.

The Heavy drum selection of “Last Encounter” coupled with melodic rave stabs and bassline makes for a harmonious Breakbeat Garage track.

The melodic and pensive sound palette of “Pressure” sums up the E P.

J:Kenzo returns to Artikal Music with his new single featuring the vocal talents of legendary grime artist Flowdan.

A raw hybrid grime / dubstep crossover with straight fire delivery from Flowdan which has had support from Sir Spyro (BBC 1Xtra), Caspa, Slimzee & DJ N-Type.

Due for release on August 2nd this single is a pre-cursor to J:Kenzo’s sophomore album which is dropping October 2019.

Lapsus Records proudly presents the fourth release in its 'Perennial' series, dedicated to reissuing classic and timeless pieces from established contemporary electronic music artists.

Following the successful reissue of 'Myam James Part I' in 2018, Lapsus Records once again turns to cult producer Kettel aka Reimer Eising to offer the second instalment of his stunning work that in 2019, also marks ten years since its original release date on Dutch label Sending Orbs.

'Myam James 2' was the much anticipated continuation of a work that revolutionized the IDM scene and ten years on it sounds as fresh and current as ever. Although it was created as a conceptual extension to its prequel, on this occasion the album’s acid lines seem to develop in a way that allows space for melodic ambient passages and more intimate compositions, revealing Eising’s classical training and incorporating instruments including the cello and acoustic piano. The 'Mayam James 2' blueprint is extraordinary, with energetic braindance and electro tracks interlaced with sonic interludes, often reminiscent of French minimalism and impressionism –'Shinjuku Inn', 'Sauce' and 'Song From 4pm Herring' are good examples of this.

This year Lapsus Records will celebrate the tenth anniversary of this audio treasure with a special collectors edition double vinyl pressing, re-mastered by Xavier Alarcón and accompanied by a lithographic print from the original artwork by illustrator Jeroen Advocaat. This deluxe reissue will also contain two unreleased tracks produced at the time of the album’s original release: 'Boltklap' and 'Lisenlily'.

Lhasa is the brainchild of Alain Raes from Siegen, Germany. As a teenager he was inspired by Tubeway Army's 'Are Friends Electric' and Art Of Noise's 'Beatbox'. In 1985 he began collecting analog equipment (Prophet-5; Oberheim OB-X; Linn LM-1) as digital synthesizers had started to become more popular. In 1986, New Beat was born in Belgium. Dancers tapped into the darker side of synth pop, and DJs would play 45 rpm records at 33 with the pitch control set to +8. Alain was playing in New Wave bands and had started production work and synth programming for other acts.

In 1988 he self-released the debut Lhasa single 'Acetabularia' / 'Acetatechno', with help from Kris Tremmery on vocals and concept. The record combined the icy melodies of Gary Numan and John Foxx with with the mechanical rhythms of Detroit techno and EBM. Thematically, both tracks revolve around the end of life on Earth, and include samples from 'Dr. Strangelove'. For this first time reissue, we've added 4 bonus tracks rescued from a 1990 recording session DAT tape. These demos show further development of the Lhasa sound with updated instruments (Roland D-20, Yamaha TX16W, Korg 707), faster tempos, and menacing proto-rave energy. All songs have been mastered by George Horn at Fantasy Studios in Berkeley. Each copy includes an 11x11 poster with photos and liner notes by Alain.

Navy Cut welcomes Mr.K to the crew!

Crafting his own sound since his debut release in 2016 and building tune after tune steadily since then, we are sure you are more than familiar with his productions.

“Ol’ Dirty” with an intro full of suspense leads up to a high energy drop built for big sound systems. The second drop provides Mr.K’s signature style; intricate bass and rhythm changes.

Expect something unexpected in the shape of “Forever”. Admittedly a one-of-a-kind vibe for Mr K to date; a jazz-influenced, hip hop style rumbler.

Dubwise. Seizing the spotlight for Sub Audio Records' fourth 12" pressing, Vienna's very own Scooped untethers his long-awaited debut vinyl release.

The skilled craftsman arose out of the boiling melting pot of Austria's thriving Dub and Dubstep scene and has been actively shaking up dance floors with high-grade productions since 2015 - receiving recognition from the likes of Joe Nice & Truth in the process. Musically rooted in the spirit of Reggae and Dub, the release features a collaboration with acclaimed vocalist Danny Ranks, who's gifted lyrical performance - music with a message - perfectly matches the irreproachable instrumental - a profound Dub cut succeeding in a traditional version style, drenched in tape delays and otherworldly reverb.

Turning to the B-Side, the imprint welcomes none other than the heavyweight sound system and musical veteran Dubbing Sun to the family and mixing desk - serving a super-charged signature style Stepper's remix with relentless might. Concluding the record in reflective excellence, label owner and operator Gnischrew manifests his sonic technique through an ephemeral take on the original, inducing a final instance of pressure-assisted meditation at 140 BPM.

Through a misty, nostalgic lens of long days and nights lost in front of sound systems, Soundbwoy Killah delivers his much anticipated debut album to Sneaker Social Club. True to previous drops on this and other labels, this is rave romanticism with a bite, as much viewing the good old days with a wry smile as longing for their return. Just listen to the opening strains of “Escape Velocity,” as the MC manages a sticky situation and tries to keep cool while sending the crowd on their way “in an orderly fashion.”

As much as hardcore, jungle, acid, techno and house inform Halcyon Daze, the sonic signifiers of that ‘golden era’ of rave culture are bedded in a poignant, reflective shroud. From lingering pads to distant, reverb drenched vocal snatches, a hint of melancholy hovers over these scattered but vivid memory triggers. Reese bass has never reverberated so deep, sirens never sounded so lost at sea.

The real art in Soundbwoy Killah’s craft lies in the juxtaposition between these languid, introspective elements and bright, sharply rendered arcs of sound that bring the music right into the foreground. This isn’t a pure exercise in nostalgia – stripped of their aggressive armour plating, a lot of these familiar elements take on a new expressive identity. Whether it’s the strafing arps in “Tom Loves To Rave,” or softly nudging the rolling breaks of “Under The Influence” into a downtempo, chill-out room headspace, Halcyon Daze proves how much mileage there still is in these battle-scarred sonic tools.

It’s not all one-dimensionally downcast either – “Heartbeats” is a rude n’ ruff celebration of amen choppage, while “Wanna Hold U” channels the ghost of UK garage with one eye cast back to its US house roots. “All Night Long” finishes the record on a charging high, all tightly clipped tech step beats and bright synths that cast their gaze ahead with optimism. The themes of lost love and fuzzy memories echo throughout Halcyon Daze, but rather than wallowing in the past, this open-ended finishing move springs forward with purpose. One gets the feeling there’s plenty more to come from Soundbwoy Killah.

Called out by The Irish Times as “Ireland’s best new rock band” and named as an one of NME's “100 Essential New Artists for 2019," When I Have Fears is the debut album from Dublin, Ireland's The Murder Capital.

Produced by Flood (PJ Harvey, New Order, Foals) the album features both singles from the band so far, "Feeling Fades" and "Green & Blue", as well as the first studio recording of breakthrough track "More Is Less".



An exercise in both darkness and light, “When I Have Fears” only serves to highlight the early ambition in the band's sound. From the post-rock build and breakdowns of the two-part "Slowdance", to the tender, bruised confessional of "On Twisted Ground" and industrial pulse of closer "Love, Love, Love", there's a consistent intensity throughout that marks out The Murder Capital as a band arriving fully formed on their debut album.

Following sell-out shows on their April tour, the group have also announced a new string of UK & European headline dates for October and November 2019 - see below.

After just 6 months since first seeing Big Yawn perform, we are thrilled to welcome them to the Research family. A compelling prelude to their debut album "No!" due out in late 2019.

Over six years the Melbourne-based group has evolved, with members of the band running various releases through label and collective Fallopian Tunes. As of 2019, Big Yawn had become a four-member music group, motivated by a history of studio production, prolific collaboration and quality hangout time.

The groups freshest effort 'Skin Rat/Thomas' captures the band performing live in the studio, and it's typical Big Yawn: fat and punchy low-end bass; drums and live drum processing; delay fx samples; thick syrupy synths. 'Skin Rat' is a hyperbolically dubbed out, tongue in cheek, magnetic blend of UK garage, footwork and breaks. And 'Thomas' takes cues from a slightly damaged post-punk sound, amplifying a brittle and sinister type of atomic porn-funk.

Limited to 200 copies. Hand numbered and housed in a screen-printed sleeve, artwork by Julian Hocking.

Above & Beyond release yoga and mindfulness-inspired ambient LP: “Flow State” Above & Beyond today announced ‘Flow State’, a49-minute panoramic journey of ambient compositions and warm, neo-classicalsoundscapes that offer moments of meditative calm in these busy and often overwhelming times. A break from the anthemic dance sound that swept Above &Beyond’s ‘Common Ground’ LP to #3 in the Billboard Album Charts in 2018, ‘Flow State’ is the culmination of a journey which began at Burning Man in 2014. A chance encounter on the Playa led to a spontaneous sunset yoga set on the infamous Robot Heart stage, guided by renowned yogi Elena Brower. A magical and spiritual experience for those present, it inspired Above & Beyond to begin opening their biggest global gigs with yoga sets, creating transformative experiences for 25,000 strong crowds at The Gorge Amphitheatre in Washington and Huntington Beach, California. The original Burning Man yoga set has subsequently gone on to amass over 2 million streams on Soundcloud. As the band began writing more original music for these yoga sessions, the seed for “Flow State” was sown. “Our music has always been about getting in touch with, and understanding and accepting our emotions. After those amazing yoga sets, we realised thatthere is a bigger place for this more reflective music within our little universe,” explains Above &Beyond’sPaavoSiljamaki. “With the Flow State project, we want to help bring people's attention and focus towards helping themselves find better mental fitness and overall happiness in life,” adds Siljamaki. “Through raised awareness, being more present, one can reach a state of flow: a creative and free state of mind where time, fear and stress dissipate.” To long-time fans of Above & Beyond, this new album will come as no surprise; quieter moments have always been essential components of their chart-topping electronic albums.

With the fifth release and the first 7inch on the quality imprint, Notes On A Journey turns its attention to Brazil. Finally, one might think, since it’s an open secret that the guys behind the label all have a soft spot for music from the leading coffee exporter in the world. So, when Brazilian DJ, record collector and digger extraordinaire Junior Santos brought this Celso Rubinstein 7-inch EP (called «Compacto» in Brazil) to the Berlin label’s attention he hadn’t to do a lot of persuading to have NOAJ reintroduce this beautiful piece of music to fans around the world some 36 years after its first appearance.

Born in Brazil to a family of Holocaust survivors, Celso Rubinstein’s career as a singer allowed him to take residency in several countries including Spain, Portugal, Israel and Britain. He performed as an artist in numerous clubs and supported other artists as backing vocalist. In 1982 he booked studio time at Chico Batera’s studio in Rio De Janeiro to record two songs for an intentional debut album.

Dansu Discs are back again, this time with local lad Interplanetary Criminal issuing a huge summer time UKG EP! 5 brand new tracks to keep you moving across this warm season. Keep an ear out on the b side as well as label favourite Breaka slices up a massive remix of Sensational...

Hand-stamped, 300 copies, independent record stores only!

‘Keep It Movin’ dropped back in May and has been making big noises at radio and with fans, so we decided to press it to wax. Fusing A Tribe Called Quest-esque vibes with future rap, adorned with a smooth sax line from UK jazz all-star, Ayo Yung Afrika Pyoneer, and backing vocals from Jungle Brown’s own producer, Tony Bones.

‘We On’ features the awesome talent that is Sampa The Great – one of Australia’s most successful and prolific hip hop exports. Her debut album is hugely anticipated... She tours the UK this summer. Don’t miss.

Both tracks are taken from the forthcoming Jungle Brown album, ’Full Circle’, which drops on Mr Bongo late September 2019. Featuring more collaborations with Fliptrix (High Focus) and Terri Walker amongst other super-talents.

With seemingly effortless precision and a sense for the imperfect, Popp merges Ambient, Third Stream and Minimal Music on his debut album "Laya". The title derives from the Sanskrit language and signifies a place of rest and mental inactivity. In the spring of 2019 Popp created these 8 tracks from hours of improvisation in his own studio. The moments thus captured were then enriched with more sounds and effects to add layers and shed the manually played percussion of all its earthliness. The result is an album of concealed complexity and unadorned beauty.

Raised on an old farm in rural Bavaria, Simon Popp started playing the drums at the age of 9. During his studies at the Academy of Music and Theatre in Munich, he extensively studied African music from countries like Togo, Ghana and Benin where rhythm is central to culture. On his quest for this world's sounds, Popp collected and recorded a wide variety of drums and other instruments, adding to the placelessness of Laya.

Breakbeat Paradise Recordings is on a neverending jouney of providing DJs and music lover around the world with the raw funky sounds of the golden era of funky party breaks. With a number of 12" vinyls and digital releases focusing on the oldskool breaks and funk it seemed like a natural thing to put some of these joint out on the 7-inch format.

To launch the Toxic Funk series we called upon some real heavy hitters and subject matter experts on the party rocking funk material. BadboE & Tom Showtime has teamed up to delivery 3 timeless cuts of no-nonsense funky boom bap bangers.

Kicking things off with the epic We Funk Tings running low and slow at 95 BPM but maintains a funky vibe accompanied by some slick funky rhymes.

On the flipside BadboE and Showtime brings on the latin flavors on the We Have It Hot jam that maintains the street attitude with an infectious latin groove and on point funky rapping.

Last but not least the catchy vibes are given a timeless funky boom bap beat to bring this 7" home as an instant party starter for the funky DJs across the globe.

Get your hands on this funky plastic – cuz it won't last long! Its Toxic!


a A1 We Funk Tings clip
[b] B1 We Have It Hot [clip]

Prepare to lift off with Ōsumi, the first spacecraft carrying the Shin'uchū sound beyond the reaches of our Earth’s atmosphere! For this exceptional occasion, Solär Sound System brought their Corsican flair and sophisticated technology in the search for the unique sonorific textures of the void. This duo — composed of Jimmy Batt and P.O — is no stranger to galactic dancefloors, and we couldn’t imagine more suitable guides for this pioneering mission. With frequencies oscillating between the fear of the unknown and the thrill of exploration, Ōsumi is a journey of discovery through the reverberating beats of deep space.

Thread captured our ears with their early outings on Reach Recordz, where they showed a unique approach to stripped down breaks and electro, mixing broken beats with minimal, electro and tech-house.

A project run by two hard-working veterans involved in the electronic music scene for the past 15 years, Marc Ashken and Ben Micklewright, Thread is just one of the several facets of this productions duo which is playing a key role in silently and relentlessly defining what we believe is a very unique sound, that blends influences coming from the vast legacy of the UK electronic music culture.

For this EP we’ve selected four diverse cuts that showcase Thread’s distinctive sound while keeping in line with our ethos of finding music that’s out of trends and time.

In seeking to explore music's place in time and space, Emotional Response has cast a wide fusion. Interpretations on krautrock (Black Deer/Montezumas Rache), techno (Not Waving/Roy Of The Ravers), kosmische (Brain Machine), polyrhythms (Durian Brothers/Don't DJ), psychedelic (Fuxa/Tomaga), balearic (Secret Circuit/The Naturals), drone (Abul Mogard/Matthewdavid) and ambient (pretty much the rest of the catalogue) has prevailed a meandering journey, with some surprises.

This continues with this 'archival' release of Brainwaltzera's Marzipan EP. As can occur in the nature of electronic music, the self-released 2016 original came and went in a blink. Hyped and sold out, soaring resale values testify a record successfully combining old and new, of known and unknowns, within a romanticised view of sound.

Organic, smart, melancholic, the deliberately mysterious nature of the artist fits. A life in movement, this music stands as testament. Freedom, a propensity to ignored complacency. 5 tracks become 4. A retro-futurist brain dance. Blurred, intelligent, trippy, deep, heady, all and more.

In a landscape increasingly dominated by surface-level sonics and a lack of true organic – man-made-machine-driven - sound, the newly found and London-based Gaia Tones project rises with an unforgiving grasp over the science of improvisation and mystery. Like a gust of wind from Mother Nature herself, the duo comprised of John Swing and David Soleil-Mon breathe a new, highly perceptible form of life into the UK’s long ‘dub and ‘bass’ dynasty.

Contrary to the consumer plastics found across much of the ‘digital’ musical spectrum, the two artists impose their own vision and aesthetic to a framework of sound that has somehow always existed but never fully explored before. Heady, stoned-out and surely emanating from physical matter, their two debut tracks are set to redefine the standards going into the next decade.

The A-side “Lychees”, stutters its own brand of dread paranoia over a sea of complex, morphing percussion that together create a whole new palette of exploratory sound, loosely tied up into a hazy, nomadic groove. On the flip, “Wonkadonk” feels like its natural extension, evolving that familiarly off-kilter assembly of drums to work around a devotedly dystopian swell of bass that pushes further and further out into the ether.

In the end, the universe tends to unfold as it should.

Label artwork by Egidio Sterpa

A cryptical presence hiding behind many different aliases spread across a range of underground labels: co-owner of LiveJam Records alongside EMG, John Swing begins producing with a live and spontaneous approach that pushes the boundaries and general conceptions of club music while digging deeper into the techniques of the past.

The production process through ananlog equipment that John Swing so strongly supports with an uncompromising attitude is the key to his underground success and esteem.
With a back catalogue of over seventy releases including collaborations with established artists such as Mr. G and Ben Sims, the London based talent has been receiving recognition by established artists including Floating Points, Gerd Janson, Levon Vincent, Theo Parrish and many others.

Inspired by London's Plastic People and it's bonding vibes, through a well refined spectrum of musical knowledge John Swing engages with the dance floor in a physical yet emotional way: the strength and power of pure house is blended with black soul music in a constant crossover between underground aesthetics and cherry-picked funk and disco. His subtle understanding of the dance floor guarantees a deep-rooted experience for the mind, body and soul.

Jonas Palzer returns to LACKRec. with something more bodily than scales and dimensions. Something you've always been interested in but never knew you were. It has to do with proximity and distance, with smaller and bigger things. Little is known about it, but connecting the bits and discovering a hidden mass may somehow make you feel larger, allow you to breath more freely. These five tracks do not lack a human scale.

The Invariants is back with a fourth release on his self-titled imprint. After recent outings on the Dutch labels Delsin Records and Nous Klaer, the Amsterdam based producer steps back into his own world and delivers four trademark acidic machine work-outs. Dreamy atmospheres, slo-mo electro patterns and a powerful haunting ambient piece as a closer.

URA is entertainment for the enteric and libidinal, heads foregone. Sub sonics, sludge-ness and front left atmospherica soundtrack your tsunami-ravaged beach bar cocktails/ cloudy sun bathing/ lounge of a dystopian future. 2K19 - Tripping Not Dipping. Rays of sun break through clouds. Don't forget to call your loved ones. Comes in heavyweight sleeve.

More emissions land from Radioactive Man’s sessions at Curve Pusher studios on Asking for Trouble this summer. This time it features a new collaboration with Ara-u - friend and a figure whose heritage lies in the rave community of 90s Venezuela. Started in Hackney and finished in Hastings, on Plastic Attack the pair present a four track selection of raw analogue machine funk from the bunker for the warehouse floor.

Dwarde and Tim Reaper are back with the unpossibly good Globex Corp Volume 8. In our opinion one of the blurst volumes yet in this perfectly cromulent series. Featuring four cuts of grade-A jungle and hardcore, don't introubulate yourself by missing this un-craptacular release!

The Hivern split series was born as a platform for those club tracks that don't need of a broader ecosystem to fully express themselves. But also as a way of generating a sort of unplanned dialogue between artists in the label's orbit, connecting the dots amid them in spontaneous and almost unconscious ways. The new installment of the series is a good example of the latter. When John Talabot and Khidja made their respective tracks they probably didn't had each other's work in mind. But in many ways 'Immediate Crash Alert' and 'M?quinas Maravillosas' inhabit in the same sonic world. Both tracks have slowish tempos, are built around obsessive motifs and make an outlandish use of delays. But, maybe more significantly, they both share the same kind of vibe. An unsettling and menacing atmosphere, fruit of masterful exercises on tension building, that seems tailored for those early moments in a set when you feel the need to rise the pressure without causing too much of a blast. With all, both tracks are prime examples that's there's space for functional tracks away from the most obvious paths. And that's the ultimate purpose of the series. The Hivern split series is vinyl-only and its visual concept has been developed by London-based design studio DR.ME.

SFV Acid takes you on a tour of Trillium Towers, a defunct business district located in Woodland Hills California.

Epic Club Machine !
80s EBM mexican band Interface went digged, contacted, then re-edited by Sneaker Dj.
The unique slow industrial marchs signed Raw Ambassador strike again.
Rawmance: 3AM when the walls sweat. Addictive dance.
Dutch master Das Ding hosted here with a progressive storm, rougher than ever.

Smells of heavy rotation..

Radio Mars is happy to announce the next release
RM005 : Deemphasis – Reflections Ep
This Ep is particular, it represents the very essence of the Electro style, minimal beats, Robotic voices, melody and a destructive groove….

Deemphasis is a producer specializing in electro, acid and vocoder.
Originally from northern france, deemphasis was influenced in the late 80s by german, english, detroit and belgian techno sounds. in the 90s, he is very involved in the “demoscene” and uses “sound-tracker” to make music. Nowadays, he always uses the same approach. it was at this time that he settled in clermont-ferrand, in the early 2000s, he began to do some concerts and he turned gradually to electro.

In 2010, deemphasis released its first 12 “ep” synthetic cells “on the umwelt label, newflesh records. Then, several ep and his famous album “mechanical beats” on ukonx recordings.

In this ep, deemphasis explores some of the feelings one can encounter in a post-apocalyptic world. The opening title “my empire” is clearly oriented towards the dance floor and features a surviving robotic voice in a hostile environment. An acid base consolidates the melancholy atmosphere. The remix of “my empire” by the french producer “the observer” is a journey with some hypnotizing effects, deep experience and ongoing melodies take will take you to a different dimension, sounds rythmic, mysterious and variable… this remix are like a poetical description of some non-human race or nature of another dimension….

The b side begins with the track “obsession”, presenting a long journey in the darkness. The mechanical rhythm sounds like a dehumanized factory fighting against continuous pressure. The ep ends with a touch of hope, looking for a « rebirth », contemplating the galaxy full of stars.

Limited to 250 copies - White Coloured Vinyl

SoHaSo is very happy to welcome an recently unknown entity on the label, Joannes is here with a fresh sound originating form the North of Holland. We all need to do shadow work once in a while, integrating our inner demons to create a more balanced reflection to carry out our lives from. The Got Needs EP provides the soundtrack for this personal journey, including delightful remixes by Nadia Struiwigh and Melatonin Man.

Got Needs A1 is a powerful groove with heavily driven drum machines and 303 bassline for peak hour introspection, it doesn't get more hypnotic than this. Melatonin Man strips down Joannes' efort into a down- tempo electro afair containing some spell-binding rhythms that sure is to move some boo...

On the B-side we fnd Joannes taking a more emotional approach, having pads and a cross rhythmic synth rif do the heavy lifting. Nadia Struiwigh takes these elements to the outer reaches of the universe. In her remix she slows i down and creates an intriguing dubby atmosphere with dystopian chords and industrial percussion.

3x12"

* Tom Withers fiiiiinally returns with his 8th Klute album entitled 'Read Between The Lines'.

* Written in a stone hut on the Shetland Islands over the course of 2016, Klute, AKA Tom Withers soon realised he would need more than a bongo and a Ukulele to bring his vision to fruition.

* Plans for a 6 month residency at Air Lyndhurst Studios were placed on hold after he received their quote, so Tom retreated to his own PBJ Studio and - with the help of a revolutionary sub bass simulation pack, a computer and a grant from the Wessington Howarth Foundation for the incompetent- he shat out his 8th full length LP 'Read Between The Lines'.

* As is tradition with every Klute album, the music does not stop at Drum & Bass. Klute's love affair with a vast array of influences shine through every note and beat. Elements of Techno, Film Soundtracks, Library, Shoegaze, Experimental Jazz, 60's psychedelia and Ambient soundscapes are scattered across this entire work.

* Drumming is at the core of Klute's artistry, having nagged his Mum to buy him a drum set at the age of 12 (she finally relented believing it would be broken and ignored within weeks).
Tom's superlative poly rhythms and deeply melancholic melodies are central to this 15 track set. Aided along the way by Stamina MC, Robert Manos & hotly tipped new comer Naomi Pryor on vocal duties adding to what is already being seen as one of Klute's best albums yet.

* 'My main objective was to make a record that was equally exciting to listen to both loudly and quietly - equal parts physical and mental.

* The title 'Read Between The Lines' is an urging to look beyond the face value, not just in my own music, but with everything you experience in life. This album will grown with you the more you listen and experience it. The surface layers will reveal all manor of underlying textures and feelings. Im immensely proud of this work and I really believe people will enjoy it.'

* Klute receives support from Goldie, Doc Scott, Fabio, Friction, Mary Ann Hobbs, DJ Marky, Marcus Intalex, DJ Storm and many others

Pre-Order. Releases June 21.

Unsurprisingly for a creator as prolific as Muslimgauze’s Bryn Jones was, when he was asked for a contribution for any sort of group project, he would tend to provide more options than necessary. In the case of longtime label Staalplaat’s 1996 compilation Sonderangebot, where Jones would find himself in the company of everyone from Charlemagne Palestine to Reptilicus, the selected track was the characteristically headspinning “Kaliskinazure”, nine minutes of insistent digital percussion bouncing the listener back and forth between samples of wailing women’s voices and a trebly, blurry little whirr that traces the percussion. It’s distinctive enough even among the vast Muslimgauze corpus, but as the continued excavation of DATs Jones submitted to his labels continues, sure enough there’s more to that track’s story, too.

An extended “Kaliskinazure” makes up the second of four tracks on Babylon Is Iraq, although it’s been lost to the mists of time whether an outside editor excised the more drifting, less needling coda that makes up the extra six minutes found here, or whether Jones simply submitted both versions of the track at different times. This more complete version of “Kaliskinazure” is surrounded by shorter tracks, with the opening “Kaliskinazure — Momada” sounding not very much like either track it references (instead being a barely-there wisp of far-away sampled wind instruments and what sounds like treated cymbal sounds) and the title track constantly coming to a full, roiling digital boil. The lengthy “Momada” closes out the album with a different, more tersely internal arrangement surrounding the same percussion pattern that will be familiar to any Sonderangebot fans, although the way the quieter atmosphere transforms the feeling of that rhythm indicates once more than Jones’ way of reconfiguring his pieces over and over was perhaps more purposive and even more effective than he’s sometimes given credit for. The result is a fascinating expansion on one of Muslimgauze’s strongest stand-alone moments.