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The hugely successful first colour vinyl edition sold out in only 2 weeks from release date so due to demand we are already repressing this instant classic! We appreciate that the expensive luxuriously packaged first edition was not for everyone's budget so the second edition is standard black vinyl and a regular sleeve design. These changes have brought the cost back in line with a standard double LP without cheapening the product and is still a superior quality package compared to many other independent releases.

The artwork has been tweaked to work with the standard sleeve format which is presented on heavyweight 380gsm card and is factory sealed in shrink wrap instead of plastic sleeves. We kept the original hype sticker design to retain the overall aesthetic from the first edition along with the same full colour insert but have included an extra information sticker for the back cover with track listing. We have also kept to double vinyl for pressing quality and have even reworked the label design as we found that the first edition labels didn't suit black vinyl quite the same as the colour vinyl edition so even though this is aimed at being cheaper than the first pressing we're still paying close attention to detail.

So as to be able to reach a wider audience we have added a Compact Disc release to the formats available which is presented in a factory sealed card sleeve with full colour inner sleeve so that the design remains in line with the vinyl issue.

Continuing the re-emergence of Bristol's Subtext label, former Vex'd artist Roly Porter presents his debut solo album 'Aftertime', which fuses his background in bleeding edge British sound system music with experimental compositional strategies and a forensic attention to detailed sound design. The results explore the terrain of an emerging industrial classical aesthetic, connecting new approaches to digital manipulation and processing with the instrumentation of chamber music in an immersive examination of texture and tonality. 'Aftertime' connects the dots between the legacy of dubstep and seminal jungle labels such as Metalheadz and Full Cycle whilst absorbing aspects of noise, drone and contemporary classical. Haunting angular assaults crafted across the eleven tracks create a logical post script to Porter's roots in Vex'd, the seminal dubstep project launched in 2004, that adopted the tropes of bass production and sonic detailing inherent in sound system culture and translated them into a highly atmospheric dark ambient progression. 'Aftertime' radiates a central narrative tension between themes of nature and technology, the ancient and modern, and the real and synthetic, revealing a compulsive cinematic netherworld, like a communiqué from an earth ravaged by science. The use of instrumentation, in particular the haunting tones of the Ondes Martenot (performed here by Cynthia Millar) reflects Porter's fascination with rare and dying technologies, the Martenot being playable by only a remaining handful of performers. Placing this rare instrument's eerie aesthetics alongside muscular sheets of noise and heavily machined tones, the album maps out a compositional territory that chronicles a dying sonic language whilst ushering in the dawning of the new. At the outer edges of this map, 'Aftertime' stands as a re-imagined present - an apparition of a mythologised past and an unreachable future.

Der in Hamburg und Bremen lebende Bildende Künstler und Musiker Ulli Bomans ist mit einem außerordentlichen kreativen Ausdruckswillen gesegnet. Die Liste an Ausstellungen, Performances, Veröffentlichungen und Kollaborationen lässt sich kaum in knappe Worte fassen. Zum Verständnis von "Sort By Dragging" ist es jedoch interessant zu wissen, dass Bomanns zum einen unter dem Alias Schieres mit Hilfe diverser Styles ein musikalisch schillerndes Panoptikum erschaffen hat, und dass zum anderen "Sort By Dragging" auf Shitkatapult erscheint, dem Label von Apparat und T.Raumschmiere, und damit der Nachfolger des Autorenalbums "Riven" (2014) ist. Das ist nicht die einzige nennenswerte Verbindung, denn mit Marco Haas aka T.Raumschmiere besteht seit 1995 eine enge freundschaftliche und musikalische Beziehung. Als Shrubbn!! haben die beiden schon zahlreiche experimentelle und kompromisslose Techno-Tracks in die Umlaufbahn geschossen. Auf "Sort By Dragging" entführt Bomanns den Hörer in eine fremdartige, düsterglimmende Parallelwelt, die irgendwo zwischen Fritz Langs "Metropolis" und dem verfallenden Detroit angesiedelt ist. Hier bestimmen klare Beats, Noise-Wände und Loops das weitgehend melodiefreie, dafür jedoch sehr rhythmische Geschehen. Techno der anspruchsvollsten Art.

The second album from 2009 mastered by Christian Wright at Abbey Road studios. The Quotes: "Focused and brilliant" (i-D), and "WhoMadeWho return with all the dancefloor straddling guitar grooves of their debut" (MusicWeek)

The Danish 3-piece band from Copenhagen founded in 2003 is playing a mix of no-wave, punk-funk and sneeky covers. Since then the group supported Daft Punk, LCD Soundsystem, Soulwax and Justice! Who Made Who are: Tomas Barfod (drums and electronic noodling), Tomas Hoffding (vocals) and Jeppe Kjellberg (guitar).

"The band combines three completely different musical characters and merges them into a fresh new whole: Jeppe Kjellberg - the walrus bearded guitar player, has been part of the New Yorks experimental Rock and Jazz scene for years. He has even recorded a mini album with David Tronzo - guitar player of the legendary Lounge Lizards. Tomas Høffding - the bass man with the falsettovoice, has his roots in the Scandinavian Garage Rock scene (but always has been in love with fat discobasslines). And Tomas Barfod aka Tomboy is not only the drummer of the band but he's also known for producing some of the hottest Advanced Electro/ House music of the moment for labels such as Turbo, Kitsune and Get Physical. Now, here's the band's new album. 13 songs that are the perfect example for a band who uses a tiny production budget to widen, expand and multi-colorize their sound without losing their soul. There's a sexual and sensual authenticity to the breathed echoes of their first album. 13 songs which, when heard by Christian Wright - the legendary engineering-maestro at London's Abbey Road studios - lead to the point that he at all costs wanted to master this record by himself. The Danish guys created a brand new pop sound influenced by early 70ies Progrock as well as the complex side of disco music, with a very rough DIY pop approach and some well integrated electronic bits and drum sounds."

Over the last 12 years, Kel McKeown, or Kelpe, has carved himself a unique perch in the UK's electronic underground. Across several full-lengths, EPs and remix projects, his misfit electronica has managed to cohere a staggeringly deep spectrum of influence along the way. A natural son and heir to Generation Warp and the fathers of Krautrock, his pioneering experiments in the early '00s also positioned him as one of many stylistic precursors to the arrival of LA's now-sprawling beat scene. Much like scene-savants Prefuse 73 and Dimlite, Kelpe has remained an enormously respected stalwart of the fringes, always dabbling variously in sample-heavy beat-craft, oddball ambient, and - more recently - dancefloor-ready club grub.

In 2013, he christened his newly-born imprint DRUT Recordings with 'Fourth: The Golden Eagle', its first feature- length. After seeing out releases from Chesslo Junior and 1000names, Kelpe returns to grace his still-young imprint with a second full-length: 'The Curved Line'. Like its celebrated predecessor, it's a record transfixed on tonality and texture - Korgs, Moogs and pocket pianos all feature heavily across the album's rich palette. The exciting sonic bursts of his last effort have evolved confidently and blown out into soaring progressions and flowing structures - all evidence of a tireless producer gunning to out-do himself.

Like its name suggests, 'The Curved Line' plays out in a tenderly considered arc - an album in which sun-swollen chords build up into sparring synths and bottom out into quietly frantic minimalism. Twinkling sound experiments follow confident club fare. The tracks range longer and wider than ever, advancing and building up loops to great heights before breaking them down again. On two of the album's cuts live collaborator Chris Walmsley makes a return appearance on the drum kit, recorded by Stereolab's Andy Ramsay at his Press Play Studios.

As ever, Kelpe presides over a delicate union of the electronic and the organic throughout. 'Chirpsichord' is a neat embodiment of the album's openers - a loping slice of soft bubbling arpeggios and shifting loops. 'Calumet' runs harder with the same themes - driving loops into a club headspace clapped with big drums and droning synths. The record pauses for breath here and there, shoehorning skittish sound experiments like 'Red Caps of Waves' and the delicately exotic 'Morning Two'. After tosses and surprise turns, the album finishes dramatically on 'Incantation' - a thumping beat workout followed by a deep and whirring coda that seems only achievable if you've been noodling with sound hardware for over a decade.

Ultimately, 'The Curved Line' is Kelpe's most urgent yet - a mature soundworld full of glowing club experiments, bounding chords and mellow interludes. There's more analogue synths, skittish surprises and white noise - and the signature warmth still remains in spades. All said and done, it's definitive Kelpe.

vinyl only. 200 copies.

Soul:r would like to welcome hot new talent Adred to the stable.. This outstanding debut four tracker showcases this up and coming producers craft for creating an uncompromising, classic take on the more soulful sound of drum and bass..

Hailing out of NYC, Adam Baker's love for music and in particular Drum and bass has seen him push to the forefront of the cities burgeoning scene. He regularly dj's and promotes his own events. More recently he has had releasees on 31, C.I.A .&Deepcuts. He also produced a classic sounding deep electronica style track on Marcus'Birdie label.
Its without doubt that this is just the beginning of an artist trying to create his own take on the real organic sound of drum and bass.

Death Waltz Recording Company is proud to extend an invitation to the bloodiest family reunion you'll ever attend with the fierce score to the terrifying horror hit YOU'RE NEXT. Composed as a group effort by Kyle McKinnon, Jasper Justice Lee, Mads Heldtberg, and director Adam Wingard, YOU'RE NEXT is a home invasion story with a twist. The music is intense, and we're not just talking the Dwight Tilley Band's seventies classic 'Looking For The Magic'. The score gets under your skin fast, with ambient eerie textures causing maximum discomfort with minimum effort.

When things really begin to ramp up, you'll start looking for a new set of underwear. Strings saw and chug along like weapons being sharpened, while it builds to some absolutely evil malevolence, punctuated by some seriously scary stingers. And out of nowhere it comes - for YOU. Run motherfucker, just try and escape it. Like a demented wall of sound it chases you, omnipresent, oppressive. Those synths are a big red flag for one thing: inevitability. It's inevitable that this music will hook you in, it's inevitable that you won't escape. It's inevitable that YOU'RE NEXT.

Deaf Center is seemingly never of the times. Whether it's the nostalgic component often associated with Pale Ravine and Owl Splinters, or the time between releases, waiting and remembering are part of the experience. Recount is a bridge between full albums, where time and familiarity are mesmerizingly suspended.
Recorded during rehearsal sessions in 2012 and 2008, Follow Still and Oblivion make full use of the Deaf Center spectrum. In the direction of a live performance, Recount plays off of experience and reaction; a balancing act of improvisation, sonic detail, and emotion.

Follow Still recorded in Berlin 2012, brings you to a recent past. The 13-minute track leads you down a melancholic pathway and into tunnels of memory. Minimal piano passages and warm repeating organ sounds are at the core, slowly blurring your sense of time while faint guitar amp noise and the sound of effect-pedals switching off and on makes you feel present at the recording. Engraved with intricate details and quiet moments, Follow Still pursues the night until dawn.

Oblivion, recorded 2008 in Oslo, recalls the live sets that followed the release of Pale Ravine. With this era condensed into one long track, the piece is an overwhelming mass of orchestral haze, crying strings and droning bass. The dense fog doesn't burden but calms, and as it starts to clear, reveals a true grandiosity.
Recount is both a division and fusion of sound and time. Two tracks, two years, two people, two cities; ultimately, Deaf Center straddles worlds to lead to something unquantifiable and timeless.

After three albums for as many labels, Dean Blunt and Inga Copeland, also of the group Hype Williams, release their debut Hyperdub LP, 'Black Is Beautiful'. Amid rumours circulating, and confirmed by their 'advisor' Denna Frances, the album was recorded during a tremulous period for the two : Inga Copeland's Arsenal girls tryouts, Dean's 'Waschbärgate' trial (he was implicated in being behind a one night robbing spree across 16 taxidermists based in London and the South East, allegedly only for racoons) and his subsequent conversion to Nation of Islam upon being acquitted. 'Black Is Beautiful' is laced with their signature hazy glow and is full of crunched eurovision lullabies, kinetic drum machine jams, unsettling funk, smeared walls of synth, moments of unadulterated opiated bliss, mogadon rap, infinite coughs and insights into the odd sexual behaviour of crackers. The word 'EBONY' occupies the album's entire front cover space in bold white print. 'Black Is Beautiful' is red and white.

Chicago Footwork legend DJ Rashad rounds off an impressive year on Hyperdub with his first album for the label, building on two EPs which have shown the extent to which his and his numerous Teklife collaborators' sound have evolved in 2013. Named after the recreational cocktail of codeine and sprite, 'Double Cup' sees trad 808 footwork workouts thrown into collision with more recent mutations of the sound, presenting Rashad's most comprehensive showcase of the diversity and strength of the Chicago scene in 2013. The album drags hip hop, R&B, acid, house, techno and jungle into its footwork turbine, spitting them all out in recombinant fragments glued together with purring 808 sub triplets and jerky polyrhythms. The album warms up with a distinctly low slung, g-funk flavour, typical of Rashad & Spinn's collaborations with San Francisco-based Taso. Hiccuping divas grace the rhythms on 'Show U How' and 'Only One' and 'Everyday Of My Life' (with Phil), with the crew providing their raps on 'Pass That Shit', 'She A Go' and 'Kush, Drank, Barz'. The previously released 'I Don't Give A Fuck' marks the dark pivot point of the album, with the pace picking up in the second half with more driving 4/4 flavours such as the title track 'Double Cup', the thunderously jacking 'Acid Bit' with Addison Groove and Chicago house flavours of 'Reggie' and 'Leavin'(with Manny). The trip climaxes with the jagged breakbeat science of 'Let U No' and 'I'm Too Hi' (with Earl). 'Double Cup' is another indication that not only is this music still some of the most exciting, forward thinking music for the dancefloor that's around right now, but that footwork can eat anything.

'Flare' might be the debut album under his own name, but it is far from Erik K Skodvin's first musical endeavour. As a member of Deaf Center (along with Otto Totland) he built up a swift following of fans devoted to his precise attention to detail and knack for creating the most unassumingly beautiful tracks of gloomy soundscapes. This clearly wasn't enough though, as Skodvin dragged his sound into darker pastures, tying to it the Svarte Greiner moniker and allowing his collection of haunted sounds to cough, splutter and groan mercilessly. 'Flare' marks a new beginning for Skodvin, and the electronic processes that have come to define his sound are now all but gone. Untreated acoustic sounds and the blankly terrifying sounds of bare rooms form the backbone of this new approach, and while 'Flare' still bears all the fingerprints of Skodvin's patented technique, it also sounds fresh and different. At times, as the album slowly reveals itself, one could be forgiven for thinking they had discovered a chewed up cassette of Finnish forest folk- dark and grainy but also live, as if a dark ritual had been captured somewhere remote in the morning fog. Through his selection of instruments, which includes piano, cello, violin and occasionally voice, Skodvin runs through the recordings with a ghost-like touch. There is the sense that these vignettes already existed, Skodvin merely dusted them off and lit the blue touchpaper.
'Flare' might not have the noise, grit and dense distortion of its predecessors, but what it lacks in bone shaking volume, it makes up for in subtlety and sheer mood. Through careful use of instruments and Skodvin's unmistakable ear for silence, he has created a record as tense and unforgiving as anything in his catalogue. It just sounds a little different, and that is never a bad thing. Listen with caution...

Jasmine Guffond is an original creator of conceptual sound. This first output under her own name is its own study, and if you've heard her former projects Jasmina Maschina or Minit, you should not be surprised at the different driving force and fresh structure of sound behind this new venture. However, if you're anticipating veins of clean, melodious folk or purely experimental electronic, you should shift your expectations.

Yellow Bell presents a broad spectrum of musicality, floating within hazy electronics, lost vocals, and ambient dimensions. The balance of digital synthesizer, loops, processed voice, and guitar creates a meticulous soundscape that both intrigues and calms. With its delicacy and immediacy, Yellow Bell distorts the perception of time and creates an environment for engagement and understanding.

While creating its own memorable dynamic, Yellow Bell resonates with the delayed endlessness of Grouper or lovesliescrushing and touches on the early electronic sounds of Musique concrete.

End of Summer captures Jóhann Jóhannsson's journey to the Antarctic Peninsula to discover the calm scenery of a landscape changing seasons, barely influenced or even noticed by humanity. The super 8 film is a comforting study of a peaceful setting in one of the most crucial and endangered areas of our planet.

Accompanied by rich and detailed field recordings of the surrounding this footage makes a perfect foundation for Jóhann's musical compositions, performed together with fellow musicians and friends Hildur Guðnadóttir and Robert A. A. Lowe. The varying use of cello, voice, synthesizer and electronics creates a listening experience that reflects both the vast beauty of the quiet scenery and the necessary cautiousness of its inhabitants. As if gliding through the steep ice, its rough edges and the harmonious water movements, organic arrangements are patiently devolving into voice and electronic based ambience that adds warmth to the icy, artefact laden environment.

The soundtrack to End of Summer is an emotional, enduring listen and a compelling experience. Forming a soundscape as broad as the view it was inspired by yet equally heartwarming, devotion to the music will slow down time and provide a moment of harmony within times of change.

LP edition features the soundtrack as well as the film's sound design on the B-Side, exclusively on vinyl; DVD + CD package features the film and accompanying soundtrack.

End of Summer captures Jóhann Jóhannsson's journey to the Antarctic Peninsula to discover the calm scenery of a landscape changing seasons, barely influenced or even noticed by humanity. The super 8 film is a comforting study of a peaceful setting in one of the most crucial and endangered areas of our planet.

Accompanied by rich and detailed field recordings of the surrounding this footage makes a perfect foundation for Jóhann's musical compositions, performed together with fellow musicians and friends Hildur Guðnadóttir and Robert A. A. Lowe. The varying use of cello, voice, synthesizer and electronics creates a listening experience that reflects both the vast beauty of the quiet scenery and the necessary cautiousness of its inhabitants. As if gliding through the steep ice, its rough edges and the harmonious water movements, organic arrangements are patiently devolving into voice and electronic based ambience that adds warmth to the icy, artefact laden environment.

The soundtrack to End of Summer is an emotional, enduring listen and a compelling experience. Forming a soundscape as broad as the view it was inspired by yet equally heartwarming, devotion to the music will slow down time and provide a moment of harmony within times of change.

LP edition features the soundtrack as well as the film's sound design on the B-Side, exclusively on vinyl; DVD + CD package features the film and accompanying soundtrack.

second full length album was made for the art installation 'Where Threads Lead', curated by Frantic Art Gallery in Tokyo.

The idea is to give a sonic interpretation of strings as both art and as an all encompassing structure of life. Ntogn's approach to this has been to work with few evolving elements, flowing and curving like threads in a web. Resulting in a varied lot of sonic braids.

Early support by Cio D'Or, Svreca, Takaaki Itoh, Valentin Corujo (Exium), Mod21, Attemporal, Eomac, Iori, Jonas Kopp, Rasmus Hedlund, Retina.IT, Victor Martinez, Periskop, Sam Kdc, Antonio Vazquez, BLNDR, Luigi Tozzi

Using audio sourced directly from the 1987 arcade machine sound board, we are proud to present this vinyl pressing of SEGA and Yu Suzuki's classic driving game, 'Super Hang-On'. Featuring music by Koichi Namiki, Katsuhiro Hayashi and Shigeru Ohwada, 'Super Hang-On' was one of the defining arcade games of the 1980s and had a soundtrack to match. With audio carefully extracted, restored and remastered specifically for vinyl, this classic soundtrack is sounding better than ever.
Housed in a meticulously designed custom die-cut sleeve, on 400gsm matt finish cardstock, with 300gsm printed inner sleeve and a traditional OBI strip. 180g vinyl cut at 45rpm for maximum driving power!

Another slice of Amen wizardry, courtesy of Myor's jungle sublabel.

The a­side is served up by Southampton native Abyss, owner of Switchblade Digital. Despite its
apocalyptic title, and the fact that most of Abyss' output on his own label is darker than a trip from the Shire to Mordor, "Lightning, Earthquake & Thunder" actually offers a glimmer of hope and some insights into America's ganja consumtion, before pummeling you with a combination of tough­as­nails Amen chops and probably one of the simplest­yet­most­effective bass lines imaginable.

This second Myor Massiv release also marks FFF's second outing on the label. His "BEAST" tune
is pretty much what the title says. It starts off as a nice lickle reggae joint, an open letter of sorts to 5­0, asking them to stop their brutality. Then, in good Dancehall fashion, the intro is cut off rather abruptly, bass lines and ragga chants barge in head first, the Winstons make an edited appearance and we're off for a chop fest. Amen.

Muscut presents the first ever vinyl pressing of Andrew Pekler's 'Cue' since its original release by Kranky in 2007. (Under exclusive license from Kranky, ltd.)

From Andrew Pekler: Typically, library music albums were not available to the general public but were marketed directly to film, TV and commercial production companies. Judging by the information provided on the record sleeves, these consumers of library music were assumed to have little interest in the identities of the individuals who actually wrote and played the music, the musicians' names often being relegated to the very small print. Instead, it appears that the functional aspects of the product were of foremost importance; the persistently generic names of the tracks and their descriptions, durations and suggestions for their usage are the ubiquitous features of library album packaging. At the same time, the name of the production studio itself is given the kind of front cover top-billing usually reserved for a performer or composer (or to brand names on boxes of corn flakes).

The new album for well respected producer, artist, dj & remixer released on his own label. One of his remixes ("Soon" My Bloody Valentine) was voted by the NME as best remix ever in music history! Other collaborations include Björk, New Order, Primal Scream, Grinderman and a lot more projects.

Signature label boss and Drum & Bass stalwart Calibre is continuing his Shelflife series with a new compilation consisting of 11 tracks that as the title would suggest were shelved before. A coherent mix of exotic rollers, atmospheric cuts and euphoric dancefloor anthems is the result. With appearences by DJ Marky and Cleveland Watkiss this addition to the Shelflife series proves to be a relevant showcase of Calibre's diversity and of course a celebration of contemporary Drum & Bass.

Number five of eight in the Trigram series. Super limited edition 400 press housed in the reverse-board Trigram house bag. Raw, unadulterated tribal bass music with a deep roots foundation. This is the sound of Trigram.
JahYu: the Korean word for 'freedom', this is an artist whose music is rooted in the notion of freedom, freedom of sound, freedom of expression, freedom from mind and freedom of the soul. JahYu uses his creative freedom to connect with his ancestors and create music that somehow transports the listener through time and space. Oriental flute and string melodies slide effortlessly amongst powerful roots-based dubstep, creating a sound that is unique and full of flavour. This enigmatic Korean-German producer blends both sides of his heritage, the digital steppers that emerged from Europe in the 1990's alongside the traditional oriental music of his mother's homeland, Korea, augmented by a deeper exploration of contemporary bass music.

* LAB017 represents the long-awaited return of Zed Bias to Aquatic Lab, this time in the guise of his seminal, futuristic broken beat alias, Maddslinky. Hammerhead marks the first Maddslinky appearance on vinyl since 2012, and is accompanied by a dynamic re-interpretation from Aquatic Lab's own Bardeya.

* The original cut of 'Hammerhead' is a unique composition from an artist often associated with deep club anthems. A minimalistic excursion of dark atmospherics and whirring bass, this is Maddslinky reimagining the rolling spirit of early 2000s breakstep, in truly fine style.

* On the flipside comes the vinyl debut of Berlin-based producer Bardeya. This transformative version opts for a route of smokey and cinematic soundscape, before a crushing elephant dub march to the finish. Think Kanding Ray meets The Bug!

* Mastered at Dubplates and Mastering and cut on 180-gram vinyl.

Cosmic Bridge kicks off 2016 with the second volume of Om Unit's *Torchlight EP*series, five productions of taut dance floor explorations for the mind, body, and soul.

Having achieved worldwide fame in the past few years with a refreshing take on dubstep, jungle, and sound system aesthetics that saw him embraced by the likes ofGoldie (Metalheadz), dBridge (Exit Records), and Mala (DMZ/Deep Medi), Om Unitset up the Torchlight series in 2014 as an exploratory exercise, a way to seek ideas to further what came before by breaking with personal tradition and exploring studio techniques.' This desire to shine a light into the darker corners of his creativity is also reflected in the series' artwork, a rendering of the alchemical symbol for fire positioned inside the Vesica Piscis, a mathematical symbol representing the void.

*Torchlight vol.2* continues Om Unit's exploration of ideas perpendicular to templates of the dubstep, jungle, and drum & bass worlds. Locked on a 160- 170bpm guiding axis, the EP delves into the deep end of sound system beats with subtle melodic flourishes, thoughtful sampling, and loose structures. 'Connector' opens proceedings with the meditative focus Om Unit has made his trademark, the mood rising in an understated manner. 'Adventures In Eden' comes across like a lost 1994 Good Looking Records anthem, kicking off with a funky percussion line that is soon joined by dense, bright pads—leading the listener into the void—before the breaks are let loose for five minutes of raw skanking. On 'Mothership Riddim', Om Unit teams up with underground legend Mark Force (Reinforced Records, Bugz In The Attic) to call all ravers back aboard for further interplanetary dance floor journeys. The pair weave timeless elements—bright chords, fluid breaks, nasty bass lines—into an uplifting slice of future funk. The EP closes with a pair of eyes-down meditations: 'Transformation' deploys samples that evoke a trek into the deep jungle while 'Angry Buzz' is a darker trip on the back of a bass line melody evoking the spirits of classic 2005 dubstep. Spread out!

Cosmic Bridge was set up in the spring of 2011 as a way for Om Unit to exercise a new found A&R sensibility. Through his support of established and new talents— Kromestar, Boxcutter, Danny Scrilla, Moresounds—the label has become a trusted independent source for fans of adventurous dance music. *Torchlight vol.1*, released in the summer of 2014, was Om Unit's first solo release for the label and it's fitting that vol.2 would open the label's fifth year, setting the tone for what is to come.

*Torchlight vol.2* is the sound of a producer in full control of his creativity inviting you along for a ride into the expanses of sound system's future. Whether enjoyed at home, on the road, or in front of a speaker stack, just let go and come along.

For the 3rd part of The Alignment 'Downtime' we
are pleased to bring you 2 delectable slice of liquid
funk from Paul T, featuring two collaborations, one
with Austia's RoyGreen & Protone and one with
Paul SG.
Paul T is a man on a mission. A mission to bring the
music he loves, and has loved for a period of over
20 years, to as many people as possible. His
passion, style and professionalism is second to
none, and all those who have come into contact
with his music cannot fail but to be impressed by his
hard work, dedication and commitment to what he
does.
South East Londoner Paul has been involved in
underground electronic music since the early days
of the UK club and rave scene in 1990. He first fell
in love with the music at clubs like Reincarnation,
Seduction and Orange and he then started DJing,
eventually getting into production, working with
Suburban Base Records, and worldwide drum &
bass legend Adam F.
Paul's production accomplishments read like a
who's who of the hottest labels in the game. He's
had cuts on Goodlooking/Looking Good, Dispatch,
Mars, Spearhead....

"IN BLOOD" is the stunning 4th album from UK based multi instrumentalist, Sunset Graves. Following up 2015's acclaimed opus 'Love Pours Into Death', this brand new album goes deeper and darker with sonics for casual beat heads and intertwining textures to reward the deepest of repeat listens. This is Sunset Graves in widescreen, journeying through genres and landscapes, incorporating ambient, drum n' bass, glitchy rhythms, bass music, field recordings, sound design, tech house, chamber orchestra and even post rock.

3rd & Debut Records releases eclectic electronic music by Sunset Graves, the sample based Lo Grounds (as featured on Joris Voorns Fabric 83) and the more experimental soundscapes of tpique. IN BLOOD is our first full length vinyl release, presented on deep black virgin wax, black inner sleeve and a full colour insert.
Supported by Earmilk, Textura and The Formant.

Top-Compilation mit allen neun 50 Weapons Remix-Maxis, die fast komplett alle erstmals auf CD erscheinen, in chronologischer Reihenfolge. Das Tracklisting enthält einige der besten Produzenten elektronischer Musik: von Moderat über Robert Hood bis Marcel Dettmann, von Chris Liebing über Legowelt bis Modeselektor. Als weiterer Bonus erscheinen 4 bislang unveröffentlichte, exklusive Top-Remixes auf beiden Formaten.

'Mahler Remixed' was recorded live at Radiokulturhaus, Vienna in May 2011. This recording is mostly based on samples taken from Gustav Mahler's symphonies. The performance also includes an early version of 'liminality' from the 'becs' album, released in 2014 on Editions Mego. 'Mahler Remixed' was a commissioned work performed together with the visual artist Lillevan. The piece was only performed live three times, at Vienna Radiokulturhaus, Carnegie Hall, New York City and at The Istanbul Borusan Art Centre.

After the release of his wondrous 5 track EP, 'Moonshine', Swedish producer, songwriter and avant-garde extraordinaire Jay-Jay Johanson returns with his 10th studio album 'Opium', out June _ on Kwaidan Records. With masterful musicianship and soulful, melancholic vocals, Johanson takes us down a dreamlike road, telling 10 stories through 10 songs, inviting us into his dark and all-encompassing world.
01. Drowsy / Too Young To Say Night
02. Moonshine
03. Be Yourself
04. I Love Him So
05. NDE
06. I Don't Know Much About Loving
07. Scarecrow
08. I Can Count On You
09. Alone Too Long
10. Harakiri
11. Celebrate The Wonders

Legendary French producer Mr. Oizo aka Quentin Dupieux returns with Hand in the Fire' - a four-track EP featuring brash, heavy-hitting productions and a Charli XCX guest appearance - out today via Ed Banger / Because Music / Big Beat Records. The new EP largely follows in the steps of Mr. Oizo's acclaimed 2014 LP The Church.' The title track shows off Mr. Oizo's pop production chops, mixing a compelling vocal performance from British pop-smash songwriter Charli XCX, complete with an incredibly catchy hook, with a punk-inspired composition that transitions more towards trap by the end of the song. On Being Flat,' Mr. Oizo pares back the melody to only an ethereal bridge, otherwise pushing forward the fast-beating pulse and glitched-out pace that continues throughout. A Rekurd' puts a tongue-in-cheek vocal sample over sirens, saw-like bass, and an eclectic drum kit, repeating the title over as tracks underneath tremor and quake. Mr. Oizo rounds out the EP with an instrumental mix of Hand in the Fire.

* The mysterious Nurve follows up on his Tectonic debut, originally released back in 2014, with 4 crunching darkside cuts, conjuring the spirits of Ed Rush & Optical circa late 90's, to appear here in a techno form.* The EP opens with 'Pyromaniac', a homage or even a love ode to the power of fire, which, like the track itself is both mesmerising and bewitching, entrancing and delirious. Next up, in collaboration with Caski, 'Brain Sugar' takes the mood deeper, continuing with the mystical vibes and meticulous  tech-heavy programming and adding a more tribal dimension to proceedings. * 'Cabana' hits hard straight from the offset, forming as the more rolling dance floor focussed track of the EP, while holding true to the palette and moods of the rest of the EP. Finally, closing up, is 'Drugs Don't Work', an ambiguous statement met by the broken rhythm of the track and disintegrating trajectory it takes.

Existence is Resistance is a London based limited run label founded by London bass legend, Persian, founder of Same People Productions
alongside long term business and occasional production partner DJ Texta.

The final box for your chillout lounge complete collection: 5 CD with the best songs to recreate perfect lounge atmosphere that you will use the most appropriate times for a total of 80 tracks of the highest quality at an incredible price! Do not miss this majestic collection!

CD 1
01. LAWRENCE - On And On
02. BRONSKI BEAT - Smalltown Boy (Akustic Mix)
03. THE BAND - Biggest Part Of Me
04. LANFRANCHI & FARINA Feat NEJA - Sorry (Acustic Version)
05. SARAH - California Dreamin'
06. BARBARA ZICHICHI - Hit The Road Jack
07. RAINBOW - Am I Wrong (Down Beat Version)
08. JOSH COLOW - Sunny
09. PLAZA PEOPLE - House Of The Rising Sun
10. LEVY 9 - I'M Not In Love
11. TI.PI.CAL FEAT. JOSH - Illusion (Unplugged)
12. HANNA - Titanium
13. TOMMIE B. - Knock On Wood
14. LAWRENCE - Drive
15. F 50'S - Change Is Gonna Come
16. THOMAS - Close To You
CD 2
01. RIGHEIRA - Vamos A La Playa (Montefiori Cocktail Rmx)
02. PAPIK FEAT ELY BRUNA - Moonlight In July
03. AXEL FORCE - Clocks (Original Fashion Version)
04. MARLON - Bossa With You
05. IN.DEEP FEAT. MAX WHO - I Can'T Tell You Why (The Max-Mix)
06. ST. CLAIR - Lady Love
07. S.L. LINE - Another Day In Paradise (The Only Version)
08. KABALA CAFE' - Reina Elis
09. PLAZA PEOPLE - Some Kind Of Wonderful
10. CHESTER MAUPAO - Habana Cola
11. MXM - Nothing Compares 2U (Dove Mix)
12. DOS MORENOS - The Speak Up Mambo (Cuentame) (Original Mambo Mix)
13. ALPHALOUNGE - Downtown (Original)
14. J.T. & THE BIG FAMILY - Moments In Soul 2000 (Soul Remix 2000)
15. BARBARA ZICHICHI - Someone To Watch Over Me
16. 3 STARS - Trumpeta
CD 3
01. RAINBOW - Fields Of Gold
02. CO-RE - Monsoon
03. MARLON - Double Six (Original Mix)
04. LUCA PONZUOLI - Sky Ocean
05. KYRIA - Live And Let Die
06. N-DREW - Watching From Above (Havana Mix)
07. INDEX - Stars
08. CLUB TURQUOISE - Vanilla
09. MOJITO FUSION - Love Party (Original)
10. MAGDALEINE - Desperado
11. LAYFER - Spectrum
12. JEFF ORIS - Hawai Sea
13. JOSH COLOW - Your Song
14. DEBBIE K. - Summertime Sadness
15. THE PART OF BEAM - Inside You
16. RAINBOW - Now We Are Free (Theme From The Gladiator)


CD 4
01. RAINBOW - Brokeback Mountain (Soft Remix)
02. RON EMILY - Samashal
03. AARON BOY - Buddha Sense
04. ANDREA FONTANA - Hot Air
05. RAINBOW - El Condor Pasa If I Could
06. JEFF ORIS - Magic Moon
07. RON EMILY - The Rain
08. HANNA - Safe & Sound
09. THE COOK - Ministry Yoga
10. BADOO - Tree Relax
11. RAINBOW - Women Of Ireland
12. HANNA - Prayer
13. DE PALMA - Aria Dub
14. B & W - Spirits
15. SOUND CARPETS - Midnight
16. MOJITO FUSION - Deep Rain
CD 5
01. J.T. PROJECT Feat. KIKA - Bulgaria (Power Mix)
02. BARABBA - Camino De La Vida (Club Beat Mix)
03. MC JOE & THE VANILLAS - Mas Que Nada
04. LONG J. - African Night
05. HEARTCLUB - No Woman No Cry
06. YANO - Son De Mar
07. CHESTER MAUPAO - Mescal
08. DE PALMA - My Africa
09. YANO - Chica Bacilona (Ottomix, S. Egger, E-mine, Remix)
10. OTTOMIX & FLORIDO vs YANO - Balcani
11. DON PABLO'S ANIMALS - Birmania (Negril Version)
12. CHESTER MAUPAO - Camilla
13. YANO - Kabul
14. DIONIGI - Marches Of Africa (March 1)
15. MARTINELLI - Baba Kiss
16. DON PABLO'S ANIMALS - Walking In The Rain (Dub Mix)

Shitkatapult reissues the first three Apparat albums from 2001 to 2003 in a specially designed box set. Hardly any other musician at the interface between electronic and pop is as greatly cherished and passionately admired as Berlin-based Apparat. He merges the inexhaustible sound worlds of electronic music with the emotional depth of Indie. He makes music to rock out to and to drift away, to sing along to and to dive into. With Moderat, his collaboration with Modeselektor, he has commanded the festival stages over the past several years.

* Remixes by Prins Thomas, Idjut Boys and Johnson Somerset
* Bespoke rigid card outer sleeve
* Printed inner sleeve
* 180-gram heavyweight vinyl
* Limited edition of 500 copies
Enlisting an all-star cast from Todd Terje to Nile Rodgers, Bryan Ferry returned in 2014 with Avonmore, his eleventh post-Roxy Music album. As we've come to expect from Ferry, there were impeccable covers to absorb but refreshingly, the lush collection was dominated by dark and romantic originals.
Now the cover master is having his own material reworked for a new EP on The Vinyl Factory. Having remixed 'Don't Stop The Dance' last time round, Idjut Boys breath new life into 'Avonmore' with both a pulsating, reverb-drenched journey and a super heavy dub take.
Also an experienced Ferry remixer, Prins Thomas cues up a slow-releasing, italo burner of epic proportions that will leave any dance floor gobsmacked.
And to round things off, Johnson Somerset - Avonmore producer and Ferry collaborator for 20+ years - steps up to deliver his own personal 11 minute interpretation of the material.
Mastered on the EMI 1400 and pressed to 180g heavyweight vinyl, Avonmore Remixed features both a bespoke screen printed thick card outer sleeve and a bespoke inner sleeve.

Horsepower Productions, and their ever present head honcho Benny ill, revered in underground music circles as among the key early innovators of dubstep, return in 2016 with their much anticipated fourth album: 'Crooks, Crime & Corruption'.

Continuing their working relationship, which stretches back to the early days of 2000, for the design of the 'Crook, Crime & Corruption' packaging, Give Up Art drew on the visual language of law enforcement — creating rolls of custom printed 'Police tape'. Each plain, unprinted 12" sleeve is wrapped by hand in the tape, sealing in the discs, and making each pressing unique.

An ambitious and varied record, it finds the group expanding their horizons and broadening their sound palette, while maintaining the unparalleled production chops that first made them such a force in the scene.Their pioneering early singles sought to strip UK garage of its slickness, adopting a stripped-down, dubbed-out approach that emphasised roughness and powerful bass. This was music for real heads, not commercial dancefloors.'When You Hold Me / Let's Dance' launched the seminal Tempa label, and even the term 'dubstep' was first popularised in a 2002 XLR8R cover story about Horsepower. The 2002 debut album 'In Fine Style' stands as one of the finest documents to emerge from the UK undergroundl, while 'To The Rescue', which followed in 2004, saw the group play a vital role in shaping the direction of the music they had made possible. 'Quest For The Sonic Bounty' (2010) sees Benny and co. double down on their core strengths.It's certainly the most sonically varied Horsepower album yet. Rhythmically diverse, 'Bak 2 NY' and 'Kuriosity' unexpectedly draw from classic house, while 'Criminally Insane' is the perfect conclusion to the album, ten minutes of breakbeat madness evoking a crazed dash through rush hour London.If previous Horsepower records were defined in part by a commitment to darkness, then the new album sees a certain amount of light emerging through the cracks. Just check the summer BBQ vibes of 'Bak 2 NY', or the balmy shuffle of 'Curiosity'. At the other end of the spectrum the sticky weed paranoia and industrial clank of 'Ruf Justice', all gunfire and sirens over punishing sub-bass.Two of the tracks you might know already. 'Good Ole Dayz' and 'Justify' - originally released together as a 12' back in 2011 - both appear here in new versions. 'Good Ole Dayz' marries dubstep wobble with an explosion of colour, while the decidedly psychedelic 'Justify' (a collaboration with guitarist Harry Keyworth) falls somewhere between Hawaiian surf and Morricone western.The group's love of cinema has always been one of their defining stylistic traits, and it's in full evidence on 'Crooks, Crime & Corruption', there's a refreshing patience to these ten productions, and a stunning command of atmosphere.Immaculately constructed and immaculately realised, 'Crooks, Crime & Corruption' draws from numerous facets of the UK underground and further afield in order to take you on a compelling, wholly immersive journey.

Smart bomb alert! Senegalese Mbalax derivatives in approved Dub mode.

By popular demand, here's the vinyl reissue of the seminal album, recorded in 1977 by Crammed founder Marc Hollander with Congotronics producer Vincent Kenis, and originally released on Marc Moulin's ephemeral Kamikaze label

New Dawn Baba Stiltz hails from a tradition of funky outcasts centred around the calm yet unpredictable city of Stockholm, Sweden. Since his infant days he's been guided through the nitty-gritty basics of what it is to be a true music lover by some of the city's most prolific artists, producers and djs. Despite his youth, 20-year-old Baba boasts an impressive discography, with two albums of dreamy folk-pop (as The Betlehem Beard Corporation) and a string of hit singles within the elusive Skweee scene already under his belt. His more recent studio adventures have led to three 12' releases on Stockholm dance label Studio Barnhus as well as recurring production work for post-rap phenomenon Yung Lean. Total is Baba's debut album under his own name and his finest work to date. From the opening machine-funk arpeggio of Missing to the sanguine melancholia of closing hiphop beat Discovery - New Dawn, Baba's masterpiece rides through psychedelic screw-pop, minimalistic emo-acid and opiate-drenched coming-of-age-ambient.

Third release on Working Nights. Six tracks of hazy downtempo machine music by Best Available Technology. Limited to 50 copies only.

Boska's British Funk Museum Article No. 808 (BARN 013) was a track that just HAD to be released on green vinyl, one of the finest examples of Norwegian neofuturistic anglofilia EVER and still very much a staple of our dj sets. We're no dummies at Barnhus HQ, so of course we've been planning a full Boska release on the label ever since we put out BFMAN808 back in 2013. Almost exactly one year in the making then, Santa Cruz EP arrives. Four slices of that fresh, clean, bass-heavy and totally melancholic scando-house we know you love. All tried & tested at the club and in the backseats of our rides by yours truly. Artwork by Makode Linde. Enjoy! With love from Stockholm, Boman-Nordkvist-Kovács PS. We'd like to inform all of you who are somehow involved in the promotion of dance music fiestas around the globe, that Boska's exhilarating look-ma-no-computer live act.

Cavern Of Anti-Matter are the new band from Stereolab
mainman Tim Gane, now Berlin-based and collaborating with
original Stereolab drummer Joe Dilworth and synth wizard
Holger Zapf.
· This is their first album proper following a series of limited
edition vinyl releases.
· Features contributions from Bradford Cox (Deerhunter), Sonic
Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).

Cavern Of Anti-Matter are the new band from Stereolab
mainman Tim Gane, now Berlin-based and collaborating with
original Stereolab drummer Joe Dilworth and synth wizard
Holger Zapf.
· This is their first album proper following a series of limited
edition vinyl releases.
· Features contributions from Bradford Cox (Deerhunter), Sonic
Boom (Spacemen 3) and Jan St. Werner (Mouse On Mars).

All tracks produced by DJ Swerve Veteran Grime MC, D Double E releases His first self released vinyl, with reissue of his classic 'Streetfighter' riddim, 5 years after its original release. This is really for the true Grime heads, the iconic artwork by David Kelly who has worked with the likes of Wiley, Dizzee Rascal and more recently, Butterz Records is one that resonates. The release features the well known instrumental that has never before been released, as well as the brand new revamped for 2015 VIP. The latter is guaranteed to return Streetfighter to dancefloors everywhere as a killer track for the close of the year. This release runs in tandem with his new single 'Like This', and the launch of D Double E's clothing line 'Bluku Wear'.

r any record, that's come before it. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician on Trickfinger, all bets are off. This one's truly a passage through night. Frusciante's using elements of John Carpenter's eternal scores, the drum programming DNA of jungle and footwork, and yes, a Roland TB-303, all slowed down to a crawl. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.

With releases on Black Box, Box Clever, System - and of course firmly planted in the mighty Innamind camp of artists - ZamZam is proud to forward our first 7' from the enigmatic LAS (Love and Sound) AKA Lassi Vainionpää of Helsinki.

Well-known to those that have journeyed alongside LAS during his live shows the last couple years, Traveling" is a deep journey into the post-dubstep ether - a classic Upsetters sample rotates and swims in strange orbits around a rubbery sub and LAS' signature conga-led percussion. Half way through the tune a 4/4 pulse takes over and the dubbing goes recursive and non-Euclidian, even while it drives that much harder.

"Omega Dub" takes a turn for the darker - the darkness of space. A hollowed out lead that sounds like throat signing cyborgs navigates the craft, propelled by insistent skanks. Spectral key flourishes bloom from the beyond, and hats and snares are pushed into an ever deeper reverb void.

Michael Tanner (aka Plinth) lulls the listener into a half-imagined worlds, drawing equally from vague memories of childhood (eerie books borrowed from the library, quaint otherworldly television serials, hours spent exploring old attics and junkshops), and a heartfelt love and appreciation of the English countryside and the ancient villages dotted around it. His songs have been likened to 'little spells', and hearing them fade out for the last time is to be gently roused from a dream and, perhaps sadly, returned to the present time.

The limited LP 'Suite for Psaltery and Dulcimer' draws inspiration from 70s new-age cassettes and the Sussex landscape. Playing only bowed dulcimer and psaltery, Michael is joined by Alison Cotton on viola. Limited to 300 copies, with hand stamped labels.

Robin Storey otherwise known as Rapoon, and ex member and co-founder of legendary northern group Zoviet France, comes back in the frozen lands of Glacial Movements after his vision of an Europe covered by ice in "Time Frost" (2007). The English artist this time faces a theme recently discovered, and that could dramatically change the destiny of our planet. Evoking visions of mad scientists, French researchers are set to revive a mega-virus dormant for 30,000 years that they discovered in the permafrost of the Russian Arctic. The researchers, from the French National Center for Scientific Research, say they will take precautions to revive the specimen under safe laboratory conditions. They published a paper detailing their research in the journal the Proceedings of the National Academy of Sciences . The group of researchers is headed by Jean-Michel Claverie, who runs a laboratory at the French center. The French scientists, who awakened another Siberian virus, known as Pithovirus sibericum, in a petri dish in the lab in 2013, warn that climate change may awaken dangerous viruses in areas of the far north where soil or permafrost is melting and believe it is better to 'know the enemy'. They found it near the same area as the latest discovery, which they named Mollivirus sibericum .This is the fourth prehistoric virus found since 2003.

Digital Music Volume One' was created using personal computing technologies to record, process and arrange synthesized sound into sequential melodic compositions and rhythmical structures. Utilizing technological systems spanning the last four decades of electronic music making, the tonalities and timeless atmospheres contained on this sanguine recording were inspired by visions.

Lee Gamble's UIQ label introduces the hypnotic, rugged and cerebral solo debut by Cairo multiinstrumentalist, producer and sound artist, Ahmed El Ghazoly a.k.a. ZULI, with the Bionic Ahmed EP. Ghazoly is a co-founder of VENT, a usic-space-turned-club-night in Cairo with a sister night and record label based in London, and he has also been a prominent figure in Egypt's underground music scene for almost a decade now,ZULI has conceived a unique sound straddling slow techno and jungle with squawking, alien electronics and smeared microtonal melody in a familiar spirit to his label boss' psychoacoustic dancefloor projections. At the top of the EP he offers a knuckle-cracking Robotic Handshake in 4D synching neck-snap sub knocks with shimmering gamelan tones and gremlin voices like a lost Dabrye bomb, before seducing us with the creamed microtonal timbre of Compactpact and resetting the levels to Beneath-style bleep & bass pressure with 131001G. However, the biggest highlight appears on the B-side opener Robotic Jabs in 4D, where desiccated 2-step jungle patterns spark at the core of a lush, fluid synth swell like some nerve-pinched Nubian Mindz reverie, whereas the decelerated thump of Ahmed trades in STL-style dub-house triplets, and Dr. Beckett convulses like a Gantz riddim undergoing an ayahuasca ceremony.In all, a striking debut from a highly individual new voice on the scene - highly recommended if you're into Lee Gamble, Coil, Urban Tribe or Beneath.

Michael Silver is CFCF, a man with a gift for a melody. He continually delivers timeless music as aptly illustrated in his debut release for International Feel, 'On Vacation'.

CFCF is a Montreal native who has been making music since he was 12 years old. Pitchfork have previously described his work as "a strong case for how much unexpected magic can be found in the ordinary and another excellent chapter in CFCF's story."

The second in International Feel's minialbum series, 'On Vacation', is an album inspired by places and spaces some imaginary, some real. The keen sense of melody allows CFCF to switch genres thoughout this release and shows him in clear analogue organic territory. "It's really gentle and lowkey and I hope that people will not take it too seriously,' explains Silver, 'It's a kind of jazzy affair."

'Sate Padang' is the album opener. A mystic little track, the likes you'd be happy to find in a dusty Japanese record store. It timelessly sets the scene. A mixture of digital and organic sounds perfectly held together by tight melodies and lush sounds. 'Arto' swiftly follows and pays homage to one of the great Japanese composers Seigen Ono. Acoustic guitar and piano play harmoniously alongside a conga beat and sumptuous accordion, it transports you to an imaginary place within. An ambient piece, 'In The Courtyard' follows, with 'Pleasure Centre' closing the A side and showing Silver's love of that under appreciated side of the 80s synth sound.

The B side opens with the stunning 'Chasing ' where acoustic instrumentation swoops in for a beautiful run through a flowing melody. A track that makes us want to hit rewind and play again instantly. 'Fleur Laisses Dans Un Taxi ' gives a nod to Paris in the Spring, 'Lighthouse On Chatham Sound' to a late afternoon setting by the sea and the album closes with 'Vermont', a contemplative piece that considers a future journey.

This album shows Silver in full stride and hitting somewhere pretty special. An artist open to music and melody and not hindered by genre or time and space. A cliche Yes maybe... But listen and you'll see exactly what we mean.

A dark rain falls on the reeds. The girl stands in the marsh. Night birds are wailing. Slowly she sinks in the water. No other way. An immaterial wave swells around her. The voice echoes on the other side of the liquid wall. Going. She reaches her hand out to the translucent water and passes through... Her entire body, shivering, travels across. Gone. She falls down the self-sufficient hole. The white noise of the water becomes unbearable. Deafened, the girl tries to escape the surveillance of the sonar system. She finally crawls out of the aqueous tunnel : in front of her, lay the Basses-Terres.

Part 2 of the Twin Paradox series.

It's time for another limited release from Absys Records. This time we're offering a brilliant EP by Hatti Vatti & Lady Katee - a duo recognized well on both Polish and global electronic music scene. You can be sure about the quality of the release - after, all Hatti Vatti is a producer recording with e.g. Synkro, and his tracks have been remixed by Andy Stott and ASC, for instance, Lady Katee, in turn, is known for her vocal endeavours as part of her post-rock band called Little White Lies. 'Farba Wszystkich Zdarzen' labelled as ABSLTD006 is a pink-coloured 10inch vinyl EP containing 4 tracks, constituting a smooth combination of fresh electronica, characterized by a mixture of depth, subtlety and gentle sound of contemporary electronic music and a delicate layer of vocals. As a whole, the EP seems to be hitting the rather more positive, upbeat notes, but still far from simplicity or tackiness, which is an undeniable asset, especially in terms of escaping the ever-expanding mainstream. Interestingly enough, the title track - 'Farba Wszystkich Zdarzen' (check out the official video! (youtu.be/2vCu5wKYXeI) - is the only track recorded by the duo, where you can hear Lady Katee sing in Polish. A small tribute to the duo's motherland, if you may.

Special Occasion are David C. Gray and Enchanting. Together they make music for the early lonely mornings between the sheets. On the b-side you find the tear drenched versions of MaxxxBass of KWC 92.

"Following on from Haroon Mirza's locked grooves, Tessela returns to Poly Kicks with a two track single of weighty, rhythmically satisfying techno, in his own trademark style."

VA EP on our Invisible label featuring Davip, Lockjaw, Bl4ck Owlz and Abstract Elements

The Italian serves up 4 tracks of analogue Proto-Techno...

The style can be defined as techno of an esoteric nature with elements from 90's warehouse material mixed with VHS horror movie aesthetics. Moans, groans, whips and desire can be felt throughout the record with a lustful theme running throughout. Violet Poison's trademark post-punk aesthetic and industrialism are in fine form for 007 with shades of rhythmic noise, experimental dark ambient and power electronics...

Addison Groove releases another rattling body shaker with his new EP on 50WEAPONS.
Following up his recent album - James Grieve', Tony Williams aka the UK's footwork-jungle ambassador drops a fresh four tracker. This one is pure fiyah.
- Dat Ass', the records fierce opening track sounds like electro undergone a radical undercut. Maximal subbass meets a sceletized breakbeat, military percussions, euphoric vocal shouts and some actual whistle blowing to add that extra dancefloor discipline.
A2 features the late Dj Rashad and with its stunning title - U been gone' sounds like a hommage to one of footworks´ greatest. Syncopated kicks shuffle around a motown sample which adds a certain melancholy to the cleverly twisted jungle breaks structuring this track.
- Push it' brings some hi nrg flavour to the record and - Masamune', the closing track, brings the whistle back on a minimal Dn'B cut playing with samples that seem to come directly from the soundbanks of Source Direct and Roni Size.
A very fresh sounding dancefloor record deemed to be torn of the shelves by Djs, and praised by pirate radio and music magazines.
RIP DJ RASHAD - Never forgotten - Teklife shall prevail

The trio of singer Sarah Sulai, Hans Hustle, producer and guitarist, and drum pad enthusiast Manu L One takes the listener on a journey somewhere, though exactly where is hard to tell. Maybe it's somewhere between worlds; a parallel dimension between Hip Hop and Jazz, glitch drums and gentle harmonies, between groaning synthesizers and warm guitar riffs; somewhere between narrowness and infinite space.

Inspired by artists such as Flying Lotus and Portishead, Akere experiments and creates music that lands far away from any stereotype. The group does not force a mix of existing genres. Instead, the resulting sound feels natural and effortless. Akere makes the music they want to make, or they have to make, or simply, that they make.

Nihil is the new album from Norwegian composer and sound artist Anders Brøby. Dealing predominantly with life's endless existential challenges, Nihil is a dark, brooding, mysterious record that hides away in shadowy corners, occasionally coming out into the light.

These ten heavy-hearted, dreamlike tracks give you the raw atmospheres of nothingness, a logical consequence of human absurdity and the destruction of man and other life forms. It's a beguiling listen, full of heaving, reverberating spaces and mournful melody.

As a founding member and songwriter in progressive / psychedelic band Radiant Frequency, Brørby musical occupation between 2004 - 2012 was mainly on singing, writing and playing in a band setting. Elements of this approach found its way into the first solo works, which was a mixture of progressive synthpop and experimental ambient soundscapes, as well as acoustic songwriting. After moving steadily away from the rock scene, recent soundtracks and solo material strips away the last elements of traditional song writing, focusing on atmospheric, ambient experimentations with pure sound.

This record forms the second release in Gizeh Records' new 'Dark Peak' series, a collection of limited CD editions, housed in special hand-crafted packaging, designed and assembled at Gizeh HQ.

Nihil was written and produced by Anders Brørby
Additional analogue mixing by Thomas Oxem
Mastering by James Plotkin
Cover design by Richard Knox

In his energy-driven music and concerts, Switzerland based artist Bit-Tuner oscillates between Bass Music, Electronica and Techno, while he pulls his tracks together to become a gloomy, but euphoric bass monster.

Bit-Tuner stands for heavy beats, blown up bass sounds, vicious dreamscapes, acid-driven melodies and disarming harmonies. He has has collaborated with and/or remixed artists like Sole (Anticon), Sensational (WordSound/NYC), Oddateee (Deadverse Rec.), !Mediengruppe Bitnik, Filewile (Mouthwatering Rec.) or Bleubird (Florida). Live he has shared the stages with Acts like Kode 9, Jon Hopkins, Otto von Schirach, Ben Frost, Jimi Tenor, Modeselektor, Kelpe, Shackleton, Actress, The Haxan Cloak and Zomby. "A Bit of Light" is Bit-Tuner's fith studio album, following 2013/14's live albums "The China Syndrome" and "The Japan Syndrome", which were based on recordings made on previous tours through the countries. The collection of 16 tracks on "A Bit of Light" are sacral bass driven ceremonies out of Bit-Tuner's crypt. 16 tracks exploring the lighter side of darkness, deepness and hypnotic ritual endeavours.

Chris Isaaks "Wicked Game" wurde schon oft in allen erdenklichen Genres gecovert, allerdings selten im elektronischen Bereich und zudem garantiert nie so schwerelos und einnehmend, wie es Emika in ihrer Version präsentiert. Tiefgehende Dub-Beats, dezente, süchtigmachende Drums und eine gewisse Verwundbarkeit machen Emikas Track zur Vorzeigeformel für Coverversionen. Den Wert des Originals kann man nur gerecht werden, wenn man es verstanden hat - und Emika hat es verstanden. "Wicked Game" ist der erste Vorbote zu Emikas zweitem Album "DVA", welches sich auf Emikas Wurzeln konzentriert: Ein genial inspiriertes und brillant ausgedrücktes Wechselspiel zwischen Freiheit und Unterdrückung, sei es politisch, sexuell oder einfach nur Kunst. "DVA" ist eine Reise: düsterer Dub Pop, neue ungehörte Sounds vermischt mit Emikas klassischen Elementen. Emika entwickelt sich deutlich hörbar weiter, Expressionismus durch Sound und liefert uns mit "DVA" eines der spannendsten und innovativsten Electronic-Alben des Jahres! Produziert wurde das Album von Emika und Hank Shocklee.

"Das ist die Musik, die wir hören, wenn wir nachts im Club versacken und schon neben der Spur laufen. Emika besitzt das große Talent, die vielen Farben der Düsternis in schillernde Soundscapes mit kurzen Melodie-Streifen zu verwandeln." - Musikexpress 10/11 über Emikas Debütalbum

1977 dub classic with Prince Jammy at the controls. Long awaited re-issue in the iconic original sleeve of the crucial dub companion to Horace Andy's classic "In the Light" that was given confirmed dub album classic status by its 1995 Blood & Fire edition. Horace Andy's profile already legendary in reggae circles, has been internationally raised by his work with Massive Attack and his continued live presence.

Ryan Hunn (aka Illum Sphere) veröffentlicht mit "Second Sight" einen fantastischen düster-paranoiden Cold Wave Banger, der es in sich hat! Nach Releases auf Ninja Tune, Fat City und Young Turks, Remixen für Radiohead oder Martyn und seiner Manchesteraner Clubnacht Hoya:Hoya, die zu den angesagtesten Club Events in Europa zählt, meldet er sich mit zwei brandneuen Tracks auf Ninja Tune zurück! Killer!

Limited Coloured Vinyl pressing. We welcome Loxy & Resound to Samurai Music. Loxy is one of the true innovators of Drum and Bass. A man with many years of experience in music production, DJing, and indeed being a vital member of the Drum & Bass movement since its inception. Combine this with the talents of fellow veteran of the scene and production sensai Resound, and the result is an overflowing supply of knowledge and skill ground together into a potent and unique future vision. Their single for Samurai Music displays two very different styles, again an indicator of the depth of this duos ability. The list of labels Loxy & Resound have released with is long and impressive, including crucial names like Metalheadz, Renegade Hardware, and more recently Exit Records who released their ground breaking 'Burning Shadows' LP in 2011. We are proud to now be added to that list.

Die Kölner Band VIMES kündigt endlich ihr Debütalbum "Nights In Limbo" auf Humming Records an! Für Azhar Syed und Julian Stetter war das Debüt kein leichtes Unterfangen, waren doch die Erwartungen nach ersten euphorisch aufgenommenen Single-Veröffentlichungen wie "Celestial" oder "Ential", Auftritten bei internationalen Showcase-Festivals wie dem Eurosonic (NL), dem Great Escape (UK) und SXSW (USA) sowie Remixen für Josef Salvat oder Kat Vinter immens und die Nachfrage immer gleich: "Wann kommt denn euer Album". Gemeinsam mit Produzent Jochen Naaf (Xul Zolar, Hundreds) verschanzten sich die Wahl-Kölner im Studio und bastelten gemeinsam in unzähligen Monaten am Langspieler. Mit "Nights In Limbo" erwartet uns nun ein Mix aus elektronischem Pop, detailversessen arrangiertem Listening-Techno, abstraktem Pop aber auch dezentem House. Es sind Lieder, die die Grenzen zwischen "Song" und "Track" ausreizen und VIMES teils experimenteller und teils zugänglicher als bisher zeigen.

Stimmen:
"As the latest preview of (VIMES') upcoming debut album 'Nights In Limbo', it has a radiance and assertiveness that browbeats negativity and encourages you to accept the beauty of your own spirit." - Dummy
"The voice of Azhar Syed gives the electronics of Julian Stetter a melancholic and yearning touch..." - The Guardian
"There's more than a whiff of Hot Chip's Alexis Taylor ..." - The Line Of Best Fit

The fifth release from Kraftjerkz is the deepest by far... an ass-shaking cross between Kraftwerk and a John Carpenter soundtrack featuring drum rhythms ala Computer World.

***G.H.O.S.T kick of 2016 with the long awaited 4th instalment of the series****

* 'Blood Brother' rolls with an earthy bass through a forest of vast eeriness - while 'Brut' steps up with hard breaks over a floaty and ever evolving collage of driven bass and vocal samples.

Release details:
* Limited 12" single & Download card.
* Spined sleeves with both sided silk screened print
* 2 tracks + bonus track (via download card)
* Lacquer & digital masters by Beau @ Ten Eight Seven Mastering
* Artwork design and print by Pascal @ Atelier Margrit

Gphone house buyer & resident DJ at Queen! (Smart Bar) w/releases on Balance, Stripped & Chewed, & Discovery, steps out w/a clear example of what's happening in the compemporary Chicago house scene.

L_ is the moniker of the Brazilian producer and sound artist Luis Fernando. Having released his debut album »Love Is Hell« in 2014 through the Berlin-based ANTIME imprint, he also received attention with a slew of remixes and contributed to several compilations, most notably »Hy Brazil Vol. 7« which was hand-selected by Chico Dub, one of the most important figures in the Brazilian electronic music scene. In 2015, ˆL_ embarked on a successful, two-week long Germany tour with his ANTIME label mate AAAA and released the more dancefloor-orientated EP »The Outsider«, also through ANTIME. Apart from his work as a producer, Fernando regularly hosts workshops on sound design with a focus on film and radio works. Fernando started making music as a young teenager, citing bands like My Bloody Valentine or Nine Inch Nails as inspiration for his first Shoegaze-leaning excursions in the music world. As he grew older, his taste varied and his own output became increasingly eclectic. Nowadays, ˆL_ works mostly digital and oscillates between film score-inspired sounds, acidic Techno, Noise and abstract electronic music. However heterogeneous ˆL_'s music might be in terms of stylistics, Fernando cunningly manages to weave all elements together into integrally closed narratives full of unforeseeable twists which follow a well thought out logic. The prolific Brasília-based producer furthermore creates continuity through his unmatched sensitivity when it comes to sampling. Fernando, who has researched and taught about the art of sampling, has built up an impressive archive and regularly immerses himself in his surroundings for field recordings. The result of his relentless pursuit.

Oliver Ho and Danny Passarella 'Multi EP'
A PROCESS IN 4 PARTS -
MALE FEMALE BACK FORTH Oliver Ho, producer of textural techno/noise music has collaborated with Danny Passarella, clothes designer and producer of cinematic synth explorations to create MULTI."Coming in four parts, it is an exploration of gender and growth, moving between the superficially binary genders, creating new identities through this process."

Twenty years after the 5th Chapter, the story continues. Chapter VI celebrates the very best of today's underground. Limited Edition 3xLP. Twenty years is a long time. When XL Recordings released The 5th Chapter in 1995, the world was a very different place. Tupac Shakur was still alive, America was yet to elect a black president and the internet was just something you'd read about. Ecstasy, jungle and hardcore were shaping club culture in the UK and defining the way that a generation of youth moved, sounded and looked. The government had just passed the Criminal Justice and Public Order Act in a bid to kill off free parties, the tabloids doggedly printed page after page on the sins of raving, while the soundsystems of Britain rumbled hard underground. Two decades later and our world is unrecognisable. Kids MC off phones at the back of buses, artists collaborate without ever meeting and ecstasy came, went and came again. But one thing has always remained defiantly present - the underground. XL may have spread its antennae far and wide but at its core its DNA is made up of weird, outsider, two-fingers-up electronic records that crawl out of the concrete and onto wax. XL began as a label by selling 12's to rave DJs, with the best releases pressed onto an annual compilation. The last in the series dropped in 1995 as the label widened its scope. Twenty years on and now is the time to reconnect with the genesis of XL. XL Chapter VI is a vinyl-focused release that wholly embraces the chosen audio format of the decade - all artists on the compilation will be releasing club-ready 12' EPs on XL, a throwback to the dancefloor artillery attitudes that were cultivated at the turn of the 90s. The Chapters provided a regular platform for artists concerned with reshaping the underground and consequently, culture. Think of Liquid's 'Sweet Harmony', 'Everybody In The Place' by The Prodigy or 'DJs Take Control' by SL2. These are names and songs that led a new wave of dance music. Fast forward far into a different millennium and those names have been replaced by a different crew forging a path into new futures. Zomby, Powell, Kaytranada, Novelist, MssingNo, GILA, Homepark, Hugo Massien, rLr, Mumdance, Novelist and Special Request are the artists that are endeavouring to shape not just a way of dancing, but a way of thinking. This part of the story may feature different production techniques and new aesthetics to the last instalment but its spirit remains totally the same. It's a celebrated tenet of dance music that it must look back to move forward, so the snaky acid basslines, brutally sparse beats and the synth melodies that soundtrack the post-club early hours, are all still there. Electronic music is more than listening to records. Our appetite for lowly lit basements packed with people and equipped big soundsystems is endless. This collection is a celebration of that primalism, an uncompromising look at the very best of the world's underground - a journey through the clubs, the cities and the culture. The story continues.

Auszug Tracklist Clock - Holding On 4 U (Visa Radio Mix) Mark ‚oh - Love Song (Mark ‚Oh Remix) John Robinson - Everbody's Loving (Mars Plastic Mix) Sharada House Gang - Keep It Up (Plus Staples Mix) Club House Feat. Carl - All By Myself (Extended Mix) Galaxy - Keep Giving (Planet Mix) Cappella - Move On Baby (Plus Staples Mix) Plus Staples - Move Allright (Club Mix) Magic Domingo - Accendere I Reattori (Extended Mix) Black Jack - Don't You Know (Extended Version)

Drum&BassArena, the genres most respected authority, returns this Spring with the 2016 edition of their best-selling album series

Synonymous with consistent high-quality and meticulous curation, the Drum&BassArena annual is one of the most anticipated releases on the calendar, and the 2016 edition is no different.

Boasting 60 tracks across 3 CD's with 11 exclusives, Drum&BassArena 2016 serves as a uniting force between all styles of the genre as it explores and celebrates talent from every corner.

It follows closely behind another astronomical year for the genre which included more chart topping D&B records including Rudimental's second studio album We The Generation, countless D&B artists achieving daytime A-list playlist radio play and even more of these artists securing main stage festival bookings worldwide - a true testament to the genre's unrelenting growth and development.

Representing players old and new, this album will take you on a sometimes gritty, sometimes mesmerizing - but most likely a combination of both - sonic journey that exemplifies the breadth and depth of D&B in it's current state.

180 gram heavyweight vinyl + transparent sticker in die-cut logo jacket. Paradox Musicspread their wings and deliver an instrumental Breakbeat album evoking the late 80's Beats, Breaks & Scratches era.

Wax Breaks features 16 Breakbeat tracks for Break Djs, Rappers and Music Producers. Each track has been note-pitched for mixing and sampling purposes at 33 and 45 rpm.

From Hip-hop to Drum & Bass and Downtempo, Wax Breaks is the versatile Breakbeat tool for live performance and studio production.

* Returning to Dispatch LTD after a string of successful and hard hitting releases, DBR UK are back to present their debut album, entitled 'Rough Edges', comprised of sixteen original productions from the UK trio.

* 'Rough Edges' is an ethos by which DBR UK live by in the studio, an ethos and distinctive style which has been developed over the years and throughout their own influences. Made up of varying elements, styles and attitudes within drum & bass, the album covers the trio's full spectrum, carried out with their own unique flair. * Certified masters of crafting their basslines and low ends to perfection, the pulse keeps every track pumping with soul, carefully mapped out and delivered to a tee, whatever the chosen direction. Eloquently arranged, but purposely gritty, dynamic but not over-complicated and never straightforward, glossy or predictable, it's an ideology the group stand by, whether it's a melodic vocal swathe or a murderous minimal mod. * Equipped with murky steppers for the shadowy back rooms such as 'Demolition' (ft. Slippy Skills), the album journeys through old skool & dub focused influences, like reece thronged 'Dark Alley' and hypnotic stroller 'Man Hunt'.

* Alongside their solo productions, the album also sees guest collaborators from the past and present combining efforts, with Skeptical, Structured, Gremlinz & Ahmad helping craft the gullied landscapes, the poignant and piercing vocals of MC Fokus striking at the jugular in 'Blood Water and the smooth, dulcet tones of Amanda Seal perfectly contrasting to the darkness and hysteria, before leading the listener back up the garden path.

* Back on the scene with a vengeance, having blown us away with an astounding quality and output, DBR UK deliver their first long player, 'Rough Edges', utilizing their subtly edged weaponry to maximum effect.

The second E.P. on Tabernacle Records from Dutchman Jeremiah R. 8 atmospheric electro tracks.

The 'Free Fall' EP shows a transition from the 'Dark Energy' material, the cartoonish hysteria of 'Eu4ria' and the industrial strength drums and hoover stabs of 'I Am The Queen' show a ravier side, more of a nod to the dancefloor than on her debut album. These are followed by 'BuZilla' a tribute to and re-version of her mentor RP Boo's 'Heavy Heat', with the track chopped into even more jagged shapes than the original. The EP ends on brand new track 'Nandi' which is the first fruit of new experiments exploring a deeper, more poised new sound.

Kevin Verwijmeren is a 23 year old science student, living in Delft, Holland.

Since 2013, he creates musical patterns and melodies, which he combines into contemplative landscapes of sound.

Inspired by the sound and emotion of Loscil, Tim Hecker and Pan American, Verwijmeren constructs a mu-sical cocoon to imagine a vision of a different world. Through his dark but beautiful soundscapes, he tries to break daily routine and accept the dark side of life.

His new album 'Those Glorious Heights' will be released on 26/02/16 in a limited edition on Icarus Records/ Vynilla Vinyl, with artwork by Jan Van Der Kleijn. The album was mastered by Stephan Mathieu (Schwebung Mastering).

2nd EDITION on GREEN-BLACK SPLATTER VINYL! The first impression was that I could be going to listen to a sexy piece of exotica music from the heydays of the tiki culture back in the 50s and early 60s but then I checked the year of production and it said 1971. Also this is a European production, from France to be more precisely. Nino Nardini was a master of library sound productions for movies, TV series' and other events back then and this album is him taking his turn on what legends like Martin Denny and Frank Hunter created for the ultimate listening experience about ten or twelve years back when people intended to escape from the struggle of all day's life and the fear of the cold war turning hot through dreamy music that combined an easy and relaxed jazz with jungle sounds and colorful melodies creating an atmosphere of exotic places. Especially the flashing female humming choirs were typical for that old exotica music. Nino Nardini refreshes those - in 1971 already ancient - musical values with more contemporary elements of hot blooded funk and especially its wild percussion patterns, sweet wahwah guitars and an ever present rocking rhythm section. Blues and psychedelic rock flow gently into the mix to expand the effect on your imagination. The whole music here is lush with great arrangements. Grandiose string patterns often vest the atmosphere of great mysticism in a garment of lust for life and let the listener discover a peaceful world of swirling colors. The earthy rock aspect of the music then urges to come to the fore when the time is right before you seem to get lost on Eden's island spiritually just to get yourself back to the smoky urban clubs where the air is heavy and the sweat drips from the ceiling. All in all this is a beautiful soundtrack for fans of both worlds, the urban funk of the early 70s and the dreamy exotica music of the 50s and 60s. Both worlds get close to each other and at some points pervious towards each other. 'Jungle obsession' is a fine example of well executed library music of the 70s and indeed plays a not existing movie in your head with all different moods. Sheer excitement if you can catch the flow.

Ist es der berühmte Lucky Punch für Sonar Kollektiv, oder eher eine logische Konsequenz für den in
München ansässigen Niko Schabel und dessen Combo Radio Citizen Egal, es passt jedenfalls wie die
Faust aufs Auge, dass nach "Berlin Serengeti" und "Hope And Despair" das dritte Album von Radio Citizen
beim Berliner Hip-Label erscheint: "The Night & The City" klingt wie maßgeschneidert für Sonar Kollektiv! Auf
den insgesamt 13 Stücken setzen Schabel und seine Co-Musiker zu einer hochexplosiven Mischung aus
Latin Percussion, Funk, folkigem Soul, Afrobeat, poppigem Dub, Ethno-Jazz, Bossa Nova, Hip Hop und
Blaxploitation-Soundtracks an, bei der Live-Instrumentierung und Samples auf Augenhöhe stehen. Schabel
ist nicht nur ein Multi-Instrumentalist, der auf Holzblasinstrumenten, Keyboards, Percussions und dem Akai
MPC-Sampler gleichermaßen zuhause ist. Ihm gelingt auch das seltene Kunststück, zahlreiche Musiker,
Genres, Stile und Einflüsse zu einer zusammenhängenden Einheit zu verschmelzen, die wahrhaftiger ist, als
ihre Einzelteile. Tatsächlich entspricht das Album dem typischen Bristol-Sound alter Schule, ohne an
irgendeiner Stelle nach Trip Hop oder Big Beat zu klingen. Famos.

* Part Two of Artificial Intelligence's album sampler is here! The second giving from the debut album for Metalheadz- Timeline, three huge tracks feat Dawn Wall and Terri Walker

* Is This Real
Is This Real harks back the hey day of Fabio's Swerve weekdays, rolling and soulful. It has a lovely female vox that plays out over its reversed counterpart. The bass is an interplay of the live sounding mid and deep sub bass with shuffling drums and dream like pads providing the soundscape.

* Scrolls (feat. Dawn Wall) (SAMPLER 2 EXCLUSIVE)
Scroll features the mysterious Dawn Walls whom very little actually known about, the track is driving and instantly conjures images of flying thousands of feet in the air with the classic diva vocal bringing character to the warping bass and two step drums

ORO 003 - Brian Routh - You Can't Be Me EP 12" Vinyl + Digital Release date: October 2015 Mastered by Sam @ Precise Distributed by Kudos Written, Produced and Performed by Brian Routh Artwork by Patricia Routh Press Enquiries: A1: You Can't Be Me A2: Laughing B1: Men B2: Nothing Left To Say Following albums from Untold and Lord Skywave the ORO label prepares its' first vinyl release due this autumn from performance artist/songwriter/poet Brian Routh. Brian has been active since the early seventies beginning with the experimental performance duo 'The Kipper Kids' with Martin Rochus Sebastian von Haselberg. In their performance work they created elaborate but purposely low-tech installations in which they would perform "ceremonies" using mostly found objects. Examples are "Tea Ceremony" (1972) a Japanese tea ceremony-inspired piece and "Boxing Ceremony" (1972) in which one performer beats himself until bloodied whilst the other acts as referee. Japanese rituals, English music hall, Viennese Actionism, and the work of Samuel Beckett were amongst their influences.

In 1982 they stopped actively collaborating, and Brian has continued as a solo performance artist focusing on soundworks and Film. These have been presented at the Royal Academy and the Museum of Contemporary Art in Los Angeles. Brian has also collaborated and appeared with Karen Finley, Henry Rollins, Public Image, Genesis P. Orridge, Sex Pistols, Joanna Went, Eric Bogosian, Anne Bean, Bow Gamelan, Lol Coxhill, Paul Burwell, Evan Parker, Derek Bailey and Ian Hinchcliffe among others.

Brian's soundworks incorporate his own vocal rants and spontaneous poetry as well as soundbites of world leaders, politicians, madmen, poets, rebels, murderers and others. The majority of his work is published on
This EP collects four works performed by Brian and set to music. They were recorded in Leicester, UK in early 2015.

As Brian puts it: "The songs/rants/poems on this EP are spontaneous verbal outpourings and the content is whatever oozes out of me; sometimes rants, sometimes poetry, sometimes self-reflection."

It's been just over a year since the launch of Electro-Blues Vol.1. After an incredible 14 months programming stages from Glastonbury to Bestival and monthly residencies in London and Brightons club land, Freshly Squeezed now return with the second instalment of this groundbreaking compilation series and a further 12' vinyl sampler lifted from it.


Vol.2 whets the appetite for the forthcoming double CD with a second eclectic helping of blues-based dance-floor goodness.


Bobby C Sound TV - "the master of funky breaks" (Krafty Kuts) - and self-appointed president of Ghetto Funk - weights in with a little Rhythm and Blues booty that smashes the door down and totally comes into it's own at club volume. Ecklectic Mick makes an emphatic return, meeting with Brighton's studio dub-maestro King Chubby to present a second exclusive slab of wildly infectious blues. And then, to top it all, we throw in an absolute cracker from Switzerland's Cee-Roo that heats things up to boiling point.


This is tried and tested dance-floor dynamite and expected to disappear off the racks to become a collectors item just as quickly as it's predecessor.


It's a second tantalising hint of what to expect on the upcoming Electro-Blues Vol.2 double CD compilation, highlighting the broad appeal (and divergent styles) of this micro vintage remix genre that is quickly finding it's feet. Do not miss. This will fly.

* Once more Quarantine reaches out with another two cuts this time from Fierce and Dom and again on the AA with Fierce and Zero T. Resonance and Turncoat now both feature in the ongoing saga that is Quarantine...

* "Resonance" Tight rigorous drums weld the backbone of this monstrous Homage to soundclash 94 DNB. Fierce & Dom roll out the hideous, caustic low end into an arrangement that is for any soundboy to wield.
* "Turncoat" Once again, Fierce & Zero T continue in the vein of the late 90's more music for the floor.
* Both these tracks continue the return of Quarantine and have been getting supported and played by Friction, Fabio, Doc Scott, Hype, dBridge, Marky, and many more.

We continue our tribute journey, now we bring in Oscar winning and Dance Hall Of Fame awarded Giorgio Moroder, the man behind such classic tracks with Donna Summer (I Feel Love), Irene Cara (Flashdance) and a number of great film scores such as American Gigolo, Scarface and Midnight Express big support from Dimitri From Paris, Headman, The Glimmers, Simon Lee, Ajello, Ilya Santana and many moore..

Dreader UK pressure from Bristol via London on PAN affiliate Beneath's Mistry label, coined for his peers and like-minded bass cadets. The label's 4th drop is Laksa's first, framing the ruggedest UK house sounds with red-eyed night vision. 'Draw For The' strides over the A-side with drunken master style; all sloshing subs and roiling drums inna cold and brittle echo chamber style.
B-side, 'Baded' drops the tempo a few notches but brings up the celsius at the same time, finding a woozy sub-tropical swagger in its hard surfaces and synthetic bird calls, whilst 'Touchdown' forges a killer sort of bleep techno mutation hingeing on roving subs synched with sub-aquatic cowbells and body-scanning pads to counter the EP's icier aspects. Early support from Ben UFO, Pearson Sound, Bill Kouligas, Lee Gamble, and Zenker Brothers

'Who's this guy What's he doing' So runs the opening line of Lamont's debut EP on Keysound Recordings - and well he might ask. After his first release in 2014 on Bristol's excellent Durkle Disco imprint - run by Keysound Sessions host Koast MC - Lamont focused on writing these four startling tracks for Keysound Recordings. And focused they are. The EP is a bold exercise in blatant contradictions. It's grimey but sonically spacious, house 'n' garage tempo but near zero-point energy, arresting but unexpectedly anthemic. Despite featuring two emerging grime MCs - Grim Sickers and Trim-affiliate Nico Lindsay - they are just as musically close to LV & Josh Idehen's '38 EP' on Keysound or the darkest Wen material as Trim's classic Soul Food mixtapes. The track 'In the Field ft Nico Lindsay' was debuted at Keysound Sessions by Lamont and was defacto signed before it had even run out. 'Death Slide', first played on Dusk + Blackdown's Rinse FM show, has become an unlikely anthem, with support from Kahn & Neek, Loefah, Parris and Riz La Teef.

Inspired by the lost lands between here and the heavens Lance
Neptune provides the soundtrack for hazy summer evenings with his debut release on Lone's Magicwire imprint.
Lance Neptune lets his music play the guide. A native of Glenardern, Maryland, his curiosity takes him into the realms of the unknown. Finding and building sounds from these unknown galaxies he conjures up musical vistas to transport us there.
Foot stomping percussions, warm pulsating pads, lush melodies and spatial chords hypnotize. This is the sort of music that floats you far away from reality, music that gives you the abilities to play around in the clouds. Having spent the last few years on hiatus Magicwire is back with its blend of lofi 90s nostalgia inspired by VHS skate tapes, and 'Animal Eclipse's ethereal experience is the perfect reintroduction.

* Since the legendary shows at The Jazz Café, the sound of London Elektricity has always effortlessly lent itself to a live setting. Today is no different as we present two loungecore classics with band-driven twists by Gentleman's Dub Club and KYX Orchestra.

* Stripping back the drums and serving up the bass is Gentleman's Dub Club with their dancehall re-rub of 'All Hell is Breaking Loose'. Springing from the roots of Leeds, Gentleman's Dub Club have been making reggae and ska shakers get on their feet with their huge Reggae anthem High Grade. This version of 'All Hell is Breaking Loose' is already a firm favourite for the summer sets of Sir David Rodigan and undoubtedly set to shine throughout the festival circuits.

* On the flip side, originally opening the seminal 'Power Ballads' LP of '05, London Elektricity's 'Out of this World' has been reborn with a flavour of big band jazz from Prague's KYX Orchestra. This is a virtuoso cover in the style of Whiplash minus the psychotic bandleader. Well we haven't actually met KYX's bandleader but we're hoping he's a bit more chilled.

Mr. Mitch's Gobstopper Records open their 2016 releases with Loom's aptly titled 'European Heartache' EP, set to be delivered in time for Valentine's. Self proclaiming his sound as "cold war grime", Daniel Timms aka Loom - according to Passion of the Weiss - "looks back to the square wave synths of the Eskimo era, but also the technology that shaped it: hissy cassette tapes, scratched up dub plates, dodgy pirate radio signals and early computer plugins". 'Grade', his debut EP for Gobstopper, was lauded by THUMP, Juno Plus, XLR8R, DJ Mag and The FADER. 'European Heartache' explores deeper into his spacious, romantic take on instrumental grime. "The core theme in my EP is a struggle with identity. What's my identity when society dictates how I should present myself because of my race, sex, religion, sexual preference. What's my identity, when the borders keep changing, when I've been displaced, fled my country because of war, what's my identity when my sex changes Do I even know my own identity, or am i just portraying what I think is expected of me" - Loom.