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We're happy to welcome back Harry Wolfman for a full record after his fine collaborative 'Square Lane' EP with Loz Goddard last year. Here he delves into the leftfield side of house, this dreamy 5-tracker. Toronto's Jesse Futerman joins us for the remix fresh from his debut releases on Church and Omena. 'Fermi' brings the tropically tinged deep house heat, wavering pads and buoyant bass paint us a mirage of sweltering summer days ahead. 'Ice Thin' starts as a melancholic mover, it steadily builds through dusty samples, shaken percussion and smokey moods elevating the energy into something euphoric. Things get gritty as we flip to the b-side. 'Downstream' is a dark and grainy outing, edgy arps work in and out of tough drums and frenzied synths. Jesse's superb rework of 'Ice Thin' features distant horns and vocals that ring out over a warbling rhodes and rumbling bass, then comes the lick of a slide guitar reminiscent of some kind of twisted western. Wrapping up this beautiful and somewhat nostalgic journey we turn to 'Outro Version' a funk laden work out. Rich strings and woodwinds fill out the lush landscape that swells and soars across the steady, bottom heavy, dance inducing groove.

The mighty Huerta is now part of the very intimate Oscillat Family.

José Manuel once again drops his unique strain of exotic club music ~ exploring deep, ritualistic and tribal influences to great dramatic effect. 'Human Behaviour' is a woozy nine minute opus. Rich in atmospherics, chanting and echoed flutes. Clandestino's remix refines the track for the dance-floor, retaining the atmosphere and injecting a driving 303 line and jamming Afro keys. Upping the tempo on 'Bangalore' a hypnotic guitar hook, disorienting chants and tribal percussion drive the groove. Mushrooms Project turn out an essential blissful sundown version by extending out the pads and replacing the guitar for a squelchy synth.

K15 returns to WotNot after more killer releases on Eglo & Wild Oats, a collaboration with Henry Wu, and remixes for Nubya Garcia, Colm K (on Tiff's Joints) and WotNot's own William Florelle, not to mention the beautiful record earlier this year under his Culross Close alias.

We're all creative but somehow, being 'creative' has become a class within itself, often defined and measured by the whims of popular culture and monetary gain, which leads us to devalue what we create if we are not successful by those metrics. We are all creative, we all use our experience, talent and feeling to shape and we should Be Glad We Create Anything.

This EP holds onto this mantra tightly throughout, reflecting both the meditative and joyful effects of unimpeded creativity. The title track begins with K15's signature introspection, deep washes of jazz-inflected textures before exploding into a rapturous syncopated synth groove. B1 Communion explores the spiritual angle with a devotional piano cadence over bouncing drum pattern, with interlocking bass and synth rhythms adding to the hypnotic mood.

Wrapping up the release is a warm, deep-soak hip hop instrumental titled You're Alive (There's Still Time), a message to self but also a beacon of hope to those who have maybe not created as much as they would have liked, or have strayed from the path the intended to take.

The folks at Passport to Paradise deliver more exotic sounds from the farthest reaches of Earth and beyond, for your aural pleasure. Your concierge today is cosmic disco maverick Loud E, taking us from 123 to 456 to 789 in a masterclass of disco edit wizardry. Step inside the elevator...

The doors close. Loud E welcomes you with '123', flicking gears and switches while offering you a space mojito. It's a smooth ascension; suddenly, the elevator wobbles and the lights blink to the beat of 124bpm. Still with us We land on '456', and the doors creak open to reveal the orange surface of Mars.

Space dust floats around a disco ball; strobe lights penetrate the atmosphere. By '789', you're seeing stars - literally. Loud E takes us from nought to sixty in the blink of an eye, or perhaps the stamp of a passport. Three cosmic cuts for the more enlightened of dancefloors.

Join the Passport to Paradise ride, but be careful - you might never come.

Two of the best tracks off the Brasileira LP get an updated dancefloor treatment by Selvagem, Carrot Green and Joakim.
Those who experienced listening to the original Maria Rita version of "Cântico Brasileiro Nº3 (Kamaiurá)" on the dancefloor know it's such a thrilling experience that could only be better if the song was a bit longer. At the same time, it didn't make much sense to mess with the original. Having these thoughts on their minds, the Selvagem boys' Augusto Olivani and Millos Kaiser (the minds behind Selva Discos) had an insight while discussing the reissue of the "Brasileira" material with singer Maria Rita Stumpf: why not hit the studio and remake the track Also, why not ask someone like Joakim, known for his exquisite taste and brilliant production skills, to remix "Lamento Africano/Rictus" It would be the perfect package. And that's what happened.
In order to properly remake "Kamaiurá", they recruited Paulo Sergio Santos from Uakti, one of the musicians that took part of the original "Brasileira" recording sessions, a supertalented multi-instrumentist who still possesses a version of the plastic tubes responsible for the particular bass sound of the track and also a couple of flutes reminiscent of the ones first used (not to mention a lot of crazy instruments he brought alongside him; on a side note for those not familiar with Uakti, it was an instrumental music group from Brazil famous for creating their own instruments whose godfather was Milton Nascimento and peaked in the 1990's playing with Philip Glass). Carlos Gualda aka Carrot Green, who's been collaborating with Selvagem for the past 3 years, was also summoned for the mission.
The project of remaking "Kamaiurá" also needed a proper recording studio, so Augusto and Millos pulled a couple of strings to rent the legendary Vice-Versa studio in São Paulo (now owned by the Brazilian label Trama), which was founded by Rogério Duprat (yes, the Tropicalia maestro), Luiz Arruda Botelho, Sá & Guarabyra in the early 1970's - a beautiful, spacious acoustically-treated wooden room fully equipped and controlled by a Neve console. There, Paulo Sergio Santos recorded 12 different instruments (none of them electric or electronic) and Maria Rita Stumpf sang in a studio after more than 20 years, on a different arrangement than the original, with a new intro and an outro, also extending the song (including a breakdow) for a better dancefloor experience. Later, Selvagem & Carrot Green worked on the post-production, adding a kick drum, a hi-hat and some Rolando SH-101 punctuation, all very minimal, so the feeling of a jungle excursion of the new session would be preserved.
Concerning the "Lamento Africano/Rictus" remix, it's a great feeling when you present your first choice an idea and the person is just hooked by the power of the music. Joakim was just very interested about the singer, the instruments used, the lyrics and jumped aboard this project quickly. He didn't had the same opportunity as Selvagem & Carrot Green had, being offered to work with just the original song, but did an amazing job inverting the elements of this suite, using the kalimba-sounding instrument in the introduction and the African lyrics in the breakdown, turning this subtle, sensitive chant in a dancefloor monster.

Bridging the gap between the old school and the new, Vibraphone reach out to Minimono, who represent the vanguard of quality Italian house and techno in the 21st century through their affiliation to Bosconi Records. "Oldest Friend" is a twinkling gem of bumping deep house, while "Questions" takes on a classic Detroit sound with a New Jersey swing. "Some Day" is a tougher beast, at least in the drum department, but there's plenty of soul in those melodic elements, and then "Eleven Days" pings off into broken beat territory with terrific results. For all the classic signifiers in these tracks, there's an infectious freshness to the Minimono sound that makes it a perfect fit for Vibraphone.

We'd like to introduce Pascal Benjamin. This talented producer has been making beats for a while now and had his his first release when he was 14! Seven years of perfecting his style and several releases later he's dropping his first solo EP on our label. No further introduction needed. Club Material only!

Patrice Scott's works make Sistrum, his label, designing the shapes of what a classic house record must sound like. Not only a nice guy, Patrice is one of the most talented producers of the planet House and he naturally is respected for that. Sounds of The City continues to put out the music of the Originators' sons and Reborn Goodness is probably one of the most important addition to the label's catalogue.

Circus Company and The Mole have long been making eyes at each other across the same crowded dancefloor. Colin de la Plantes primary project is synonymous with the off-kilter corner of house music we like to spend our time dancing in, and the labels he releases on are close cousins of the Circus troupe. From Wagon Repair to Philpot, Musique Risquee to Perlon, its a wonder that we havent worked together previously, but finally thats been put right with Little Sunshine. Stripped back, understated disco grooves have always been the bread and butter of The Moles sound, while infectious, cyclical melodic patterns are equally important in making his unique version of house music. On the title track, those elements are presented with full force, but in between the driving rhythms linger the most gorgeous keys, bringing a mellow introspection to the track as a neat counterpoint to the energy of the drums and arpeggios. Compared to the clean lines and peppy tempo of Little Sunshine, Discotheque Airplane is an audacious swerve into low and slow territory, where dusty samples rule the day and the bass swells in and out of earshot with a truly mesmerizing effect. Its a moody affair loaded with tension, mystery and funk in abundance. As if that wasnt enough proof of the variety in The Moles repertoire, on his collaboration with Dutch hero Tom Trago for Down The Hallway we find the pair exploring lean, focused techno, where the simplest of rhythms propel a haunting, distant vocal lick. Its the drum sounds that make this a special cut, championing warm, natural percussion instead of the methodical drum machine hits found in most contemporary techno. Rounding the EP off in a beautifully mysterious style is Aardvarck, whose remix of Down The Hallway take

Introducing Basic Vision, a new imprint releasing a vinyl series of rare classics from the legendary back to basics club. Selected and compiled by the man who played the first ever record at the club, original resident DJ Ralph Lawson. All the tracks are cut to vinyl from the original master recordings and given enough time on high quality vinyl to ensure clean, loud pressings with original artwork by the godfather of punk design - Jamie Reid.

Basic Vision 001 features one of the greatest ever house music records - Lil Louis & The World's 'I Called You (The Story Continues), still a firm favourite of Ricardo Villalobos. The flip side boasts perhaps the most rare cut, first championed by DJ Harvey and still highly sought after today, M-I-Cara's 'Casa Beat'. While Mike Perras all time classic 'Keep Movin' completes the EP.

For Our Second Release Of 2018 Ears Have Eyes Are Back With The Third Instalment Of Our Throng Of Orbs Compilation Series. This Time Around We Welcome Back Old Friends, And Bring In Some New Names To The Ehe Fold, With A Collection Of Tracks Spanning Deep Emotive House Music, Broken Beats And Acid Dancefloor Pressure.

First Up We Have Contours, Who Burst Onto The Scene In 2015 With An Excellent Release On The Mighty Rhythm Section, And Has Put Out A Slew Of Great Records Since Then. Dither Takes Time To Unfold, But When The Fluid Acid Line Emerges From The Heady Percussion He Really Sets Up The Track For Dancefloor Perfection.

For The A2 We Welcome Back Chocky To The Label, And He Serves Up A Slice Of Weighty House Music That Drips Quality And Emotion. Pickle Dat Kicks Off With An Absolute Beauty Of A Groove, Understated But Weighty, And From There Chocky Goes On To Sprinkle Just The Right Amount Of Seasoning, With Soulful Rhodes Licks And A Wonderful Bass Line.

Off The Back Of Their Excellent 12" On Love On The Rocks, Elles X Violet Kick Off The B Side With Yrnyb, A Tried And Tested Dancefloor Destroyer. When We Heard Elles Playing This In A Dark Basement In Peckham, We Just Had To Sign It. Sometimes A Kick Drum, An Acid Line And A Half Herd Vocal Is All You Need.

Finishing Off The Release We Have Dublin Artist Replete Serving Up A Lovely Slice Of Hazy, Percussive House Music That Slowly Builds To A Crescendo. An Acidic Bassline Sits Nicely Over Congas And A Warm, Rounded Kick Drum.

Label boss YSE is back on PFT with the long anticpated follow up to his 'Gesamtkunstwerk EP' which made it into Kai Alci's best of 2015 chart. If you have been following Ant Plate's productions under his various guises (YSE, YSE Saint Laur'ant, Rhythm Plate, Vengaboys) you know what to expect - deep, quirky, innovative house music that sounds like nothing else out there. This EP doesn't disappoint - the grooves on here are impeccable from start to finish. Opener 'Unstoppable' builds the tension nicely with nagging strings and chords before letting loose with the drums. 'Sun Shadow' was actually selected by Red Rack'em as one of his best of 2017 despite not even being released. Now that's literally being ahead of your time. The robot boogie of 'All We Are' is guaranteed to stop heads on the dancefloor with it's unique vocal and syncopated shuffle. Closing track 'You Told Me' slows the tempo slightly and is one for the deeper moments.

lovely Mystical Electronics!' (richard Dorfmeister / Tosca / Kruder & Dorfmeister)

Ah! Kosmos - Das Ist Ein Beständiges Wunder, In Dem Wir Hier Mittendrin Stecken. Beim Hören Ihrer Tracks Bleibt Immer Wieder Nur Stauen. Den Soundtrack Zu Love & Awe Spielt Seit Einem Halben Jahrzehnt Basak Günak, Sound-designerin, Produzentin Und Multi- Instrumentalistin Aus Istanbul.

Auch Auf Ihrem Zweiten Album - beautiful Swamp Verbindet Sie Elastische Bis Hart Knisternde Percussions Mit Melodischen Soundlandschaften. Dabei Gehören Der Universalismus Der Musik Und Persönlicher Freiheit Untrennbar Zusammen: Tief Im Gewebe Ihrer Tracks Aus Downbeat Und Deep House, Aus Türkischen Klangtraditionen Und Exotischen Revieren Stecken Auch Ängste, Glück Und Düsternis: Günaks Musik Fängt Auf, Was Sie In Ihrem Leben Zwischen Istanbul Und Berlin Verarbeitet Und Überwindet. Den Hörenden Bleiben So Nicht Nur Soundscapes Zu Erkunden, Sondern Vielschichtige, Emotionale Kosmen, Die Mit Jeder Neuen Klangschicht Ihre Widerhaken Ins Hirn Schlagen.

Schon Mit Ihrer Ersten Lp bastards' Bewies Sich Günak Als Grenzüberschreiterin, Oszillierte Zwischen Dem Mut Zum Glückseligen Flow Und Avantgardistischem, Düsteren Post-rock. Mit Ihrem Neuen Album beautiful Swamp', Das 2017 In Berlin Und Istanbul Entstanden Ist, Be- Wegt Sich Ah! Kosmos Weiter Jenseits Aller Genre-grenzen: Günak Baut Aus Polyrhythmen Und Folktronischem Instrumentarium Eine Mystische Klangwelt, In Die Man Hineinsinken, In Die Man Sich Forttragen Lassen Kann. Für Ihre Organischen Klang-cluster Hat Sie Auf Diesem Album Ihre Eigene Stimme Als Material Entdeckt, Wird Als Person Greifbarer.

Ihre Musik Ist Körperlich, Trägt Würdevoll Spuren Von Auseinandersetzungen. Die Transzendenz Von - beautiful Swamp Ist Eine Flucht, Ja, Aber Eine Nach Vorne. Der Titelgebende Sumpf Vielleicht Auch Eine Ursuppe, Aus Der Immer Neue Klangwesen Schießen. Mit Dem Druck Gelebten Lebens Und... Es Sind Überirdisch Schöne, Allesamt.

Ah! Kosmos Arbeitet In Erster Linie Allein. Wenn Günak Sich Auf Musikalische Begegnungen Einlässt, Dann Auf Besonders Intime Und Intensive. Wie Die Mit Der Jazzsängerin Elif Çaglar, Die Im Song - beyond Dreams Zu Hören Ist, Oder Mit Dem Gitarristen Özgür Yilmaz, Zu Hören Auf Dem Track - wide . Selen Ansen, Eine Der Wichtigsten Türkischen Intellektuellen Ihrer Generation, Hat Für Günaks Neues Werk Ein Gedicht Verfasst, Mit Dem Passenden Titel in The Dark Woods'.

Ihr Wichtigster Partner Aber: Das Publikum. Ah! Kosmos, Das Ist Genauso Sehr Ein Live-projekt - Und Eines, Bei Dem Die Musik Unmittelbar Auf Die Stimmung Im Floor Reagiert. Bei Jedem Ihrer Auftritte Nehmen Ihre Klanglandschaften Eine Neue Gestalt An. Sie Performt Solo Oder Begleitet Von Einem Gitarristen, War Bereits Support Für Acts Wie Sigur Rós Und Jonny Greenwood's Junun Project (barbican Hall) Und Spielte Auf Wichtigen Festivals Jenseits Aller Schubladen, U.a. Auf Dem Sónar Festival Barcelona Und Dem Venice Electro Festival, Dem Tokyo Electronic Music Of Arts Festival, Dem, Prague Quadrennial Und Dem Arena Theater Festival Nürnberg.

Zudem Komponiert Sie Für Zeitgenössische Tanz- Und Theaterproduktionen, Kurzfilme Und Perfomances. Im Frühjahr 2018 Nahm Sie An Dem Projekt sonár Calling Gj273b' Teil Und Schickte Eine Elektronisch Verfremdete Version Ihres Songs i Don't Belong Here' Ins All. Wahrscheinlich Fühlt Man Sich Ihrem Sound Sehr Verbunden, Dort Draußen.

Baltra's Rearview EP is back by popular demand! NYC resident and upstart producer Baltra has humbly created worldwide buzz for his saturated, NY/NJ House-inspired, RnB-inflected jams via a series of YouTube-only music videos, alongside self-released cassettes and tracks for releases on Craigie Knowes and upcoming on Lobster Theremin's Of Paradise sublabel. This blissed out set of tracks had a limited press on Baltra's own 96 and Forever label, and now inaugurates the birth of IDNK.

Young Cody Currie makes his debut on Classic with this sparkling star-strung 4-part 12' EP, 'Ode To Eddy'. Following covetable releases on Razor-N-Tape, Pulse Records and Better Listen, the budding London DJ and producer demonstrates his deep and jazzy style in this release, expanding on his usual creative use of sampling by introducing his own vocals and live keys. The title track has echoes of fellow Classic artist Folamour, blissed-out synths and syncopated drum work creating an irresistible lilting beat. 'I Don't Feel' has hints of acidity, 'Never Alone' loops the vocal over a shuffling melodic groove and 'Tale Of Tales (Memoirs Of A Super Freak)' is the uplifting finisher. 'Ode To Eddy' is a supremely promising introduction to an intuitive and gifted new artist.

Dark Bliss is the debut LP from Galcher Lustwerk. Deep and sultry house topped off with lush baritone vocals.

Eat More House proudly presents Garbuge aka Jef K & Mikael Weill! Great vibes here on all four tracks of the "Grand Bazar"EP.

Yo! Good Music for strange places. Back from another world, ready to be stared shocked/amazed at. DJs like Dixon, Jackmaster or Tale Of Us will probably never know about it. Ask for more information. Ask for Yo!

Rekids regular Markus Suckut drops his third album entitled 'Heaven Is A State Of Mind' this September. Here is a limited edition 10' of extra two tracks from the album. 'We Will All Disappear One Day' is a syncopated ominous beast if a track complete with purring bassline, on the flip is the moody two-step number entitled 'Death Is Not Final' with twisted sequences and trippy effects.

REPRESSED !!
Following up the Entity crew's first release comes another residents EP, with two tracks from Shai Spooner + Jordan Dessar and a stellar remix from Mannheim's finest, Fabe.

Staying true to their London-centric sound, tracks "Balanced Diversity" and "Soul Dub" are peppered with references to UK Garage, Breakbeat and House, further helping the young label establish their soundscape.

The release is topped off by Fabe's remix of "Balanced Diversity", a rocket of a track primed for the dancefloor and set to be an anthem. The perfect icing on the cake for this second, really strong release from Entity.

Sweet deep techno and tekhouse.
LTD and numbered

Check out this new Share Yourself Series! number 4 which offers you two great tracks finally on hot wax!
Szymon Hollner is a talented young producer from Poland. In 2010 he released two EPs on Relax 2000, a sublabel of the highly reputated Snork Enterprises. Szymon has a really unique style and refuses to take part of the ruling fashions. A lot of guys pretend doing it, he DOES! This is no mainstream, no consensus, this is FUNKY underground shit.

Warehouse find. Stunning DAT tapes by unknown enigmatic producer. Dusty 1990's analogue house dancefloor killers. Do. Not. Sleep.

10" Vinyl Only. 150 copies. 1st of a 5 part EP series.

Vinyl Only heat from the local label with tracks by

Long time scene stalwart Darren Price is stepping out on brand new label, Kilsha Music, with a fantastic EP of monster house tracks arriving on both vinyl and digital.

Opener 'Charm Offensive' is a fantastic ten-minute trip into loose limbed techno. Drums, bass and percussion all wrap and weave around each other and melt your mind in the process. A rasping lead synth eventually becomes the focal point as background chords bring real soul.

The brilliantly bristling 'Everybody Jack (UW Live Maschine Mix)' is a full fat track with busy textured synths, sci-fi effects and old school jack vocals that will really work the dance floor into a lather. It's dynamic and ever evolving, with plenty of tense peaks and troughs throughout to keep the 'floor on its toes.

The final vinyl track is 'This is House Music', a deeper cut with warm, warbling bass and a muted acid line spraying about the mix. It slowly builds the pressure in heady fashion and is one to really hypnotise.

This is a fresh EP from one of the techno scene's most enduring and essential talents.

repressed !

DUM-033 is another DUM Records reissue with new 13 minutes Mono Junk remix of Detroit Diesel's classic acid track Dimension.

Public Release maintains its coast-switching lifestyle with what is perhaps its most ambitious project—and inarguably its longest —yet, Earth Boys' debut full-length, The eboys LP, the logical conclusion to a chain of collaborations that began, a little over a year ago, with the release of their Trail Mix EP. The two-disc, twelve-track album represents a new high for the pair comprised of Michael Sherburn and Julian C. Duron both creatively and technically; ideas they've been stewing and simmering since their splash of a debut in 2015 are now presented fully baked here.

Eboys was conceived as a classic long-player, with the majority of the tunes having a runtime of about four minutes and the whole thing feeling most satisfying when inhaled with one big tug that gets you from the A1 all the way to the D3. It begins with 'The Intro,' a sort of manifesto for what's to come: here, we find Earth Boys sitting, a little wine drunk, at the piano, attempting a slick jazz lick that sits atop shuffling breaks and is completed with a free-wheeling sax soliloquy, courtesy of local friend Jeff Hackworth. Think of it as Sherburn and Duron's title credits sequence à la Saturday Night Live. Then it's a splash of water across the face and onward to business with "Roll it Back," a flexy, laconic warmup workout that sets the tempo and pace for the party unfolding. The rest of the first side is a woozy, pads-and-vox drenched crisscross through deep house tropes that unhurriedly tumbles into the B-side, a slinky, sharper-focused movement that begins with the G-funk-dusted 'Bossa Nova Gang,' an homage to Bossa Nova Civic Club, the Bushwick dance-music incubator that the boys came up in and around.

With the next disc, Earth Boys nudge the tempo up a smidge and get a little punchier, first with 'Come Thru,' an elliptical party jam with a fat, bouncy bass, then even more so with 'Blue Iris,' a ravey anthem illuminated by black lights and lasers. The journey begins to come down with 'Last Call,' a slo-mo wobble to the bar for one last shot of a perk-me-up, and then folds back into itself with 'The Outro,' a chill-out finale that burns the remainder of the journey down to a sticky resin.

Welcome to the Sound Of Love International 001 complied by Gatto Fritto. Love International is a festival held in Tisno, Croatia now moving into its third season. Held to a soundtrack of the very best of underground dance music and running 24 hours a day - from noon to night and back through again - full circle. This series, masterminded with London's Balearic culture website, Test Pressing, is curated by some of our favourite artists and DJs. A place for them to choose 12 records close to their heart, and with ties to the festival, that they love and what to share with the world. So to the first compiler - Gatto Fritto a.k.a Ben Williams.
A lifetime working in the better record shops of London and Berlin and DJing in Europe's finest underground clubs, Ben is getting the props he deserves. Put into context, although not in a box, on line-ups curated by Call Super, Ben UFO and Palms Trax the word is spreading. It's partially testament to the increased open mindedness of younger big room crowds but far more to Gatto's ability as a DJ and a knack for finding an undiscovered mix of music that fits.Having previously made freaky Disco mutations for Dissident Records, then an album of Kosmiche inspired sounds for International Feel, it's proving to be something of an advantage not being easily hamstrung by genre.
So what about the music here It's a collection of tracks that Ben played across his last two sets at Love International's open air club Barbarellas. There's a dubby wildness in the stereo field that sounded good on the soundsystem. The clever part is how well suited these sounds are to the balmy outdoor vibe and where and when this music comes from. You can't copyright these emotions, it would seem and no-one told them in Cologne, Sheffield, Jamaica that the music they were producing would soundtrack a blinky-eyed sunrise in Croatia. So we get Mad Professor's son, Joe Ariwa's, demented Gabber tempo stepper played on 33. Which is about as House as Reggae is ever going to be. A crash course in Skwee's year long diversion into afrobeat turned out the cream of the crop in Anaalivaihe's 10.11.2012 or Mi Ami's outlier release on Pure Silk that sounds like, in Ben's words, 'Francois K being forced to make a record with a Juno 60'. Or crazy vari-speed tape dubbing from Sonny Okosun in the dub version of 'Highlife' - the kind of record that Ben loves, where the end result is a happy accident. The original intention of the maker some distance from the reasons for our enjoyment.Musically adventurous, disparate yet harmonious and dance floor friendly. Clever trick, clever bloke. Ladies and gentlemen this is the sound of Love International.

Originally released by the legendary UK House label Black Vinyl in 1999, The Power EP' quickly became Karizma's breakthrough anthem, showcasing his trademark balance of infectious beats and deeply soulful melodies.

This first time re-issue finally gives those that missed out the chance to experience Karizma at his raw best. Alongside the anthemic The Power', (all 8 minutes 84 beautiful seconds of it), it's the B-Side that has the hidden jems.

The Sea' is a classic Karizma house workout, flipping beats and groove and giving you that lift of spirit you get when you take in that fresh sea air on a sunny day.

K II S' is simply Karizma going all out to make sure anyone in the vicinity is irresistibly drawn to the ambient melodies giving way to the body booming, neck-snapping beats. Rough, rugged and raw.

Correspondant can finally reveal the release of the remixes for Man Power's debut LP, which was released last year on Correspondant.
A year in the making, the remix package features artists and friends hand-picked by both Jennifer Cardini and Man Power himself.
Disco Halal's Moscoman remixes the baggy splendour of Beilsteiner, creating a rolling and belching extended opus more focused toward the peak time dance floor.
Hivern Disc's JMII takes Hunting Swan and turns it inside out, exploring space with a cerebral, schizophrenic quality.
Alternatively, Pale Blue (Mike Simonetti) takes Boys Beware and re-imagines it as an aggressive drum workout.
Completing the package, Suade, the artist who also mastered the original album, replaces TEN's balearic leanings with an IDM sensibility, yet still retains the optimism of the original track.
All 4 remixes manage to exist as distinct works in their own right, while paying homage to the "magpie" approach of the original long player.

Jonah Sharp & DJ Spun pair up as The Loose Control Band to drop a punk-inspired single on Rekids with remixes from label founder Radio Slave and SHUT boss Ryan James Ford.

Having released a large body of work as Spacetime Continuum (Astralwerks) or alongside David Moufang as Reagenz (Workshop), not to mention significant collaborations with the likes of Terence Mckenna, Haruomi Hosono and Bill Laswell, Jonah Sharp is unquestionably a highly respected producer. His seminal
label Reflective played an important role in the experimental ambient and techno scene during the '90s, whilst as a remixer he's worked with music by Nine Inch Nails, Meat Beat Manifesto and Matthew Herbert.

Meanwhile, Jason Drummond has long been a commanding force within New York's electronic music scene, such as running his prestigious Warm Up Music series or his All Night Rong parties with regulars like DJ Harvey. He's also been DJing and producing as DJ Spun for two decades, appearing on Golf Channel Recordings as well as his own illustrious imprint Rong Music, which used to release music collaboratively with DFA.

'I Don't Understand' sees a raw and uncompromising side to both artists as they layer a cacophony of murky bass, twisted melodies and mind-bending bleeps whilst Drummond's turbulent vocals bellow throughout the mix. Staying faithful to the original, Radio Slave's remix incorporates a heady rhythm with its rolling beat as screeching effects join a moody bassline.

Moving into techno territory, Ryan James Ford's 'Akihabara' remix features rattling percussion and crystalline synths whilst his 'Hope' remix is built on an intricate drum sequence as soaring pads and echoing keys contrast with the original's piercing vocal.

Finally a new sampler on Siena.! This time on 3.0 a broad range of sounds from Funk to Techno. The A-side starts with a smooth summer jam by Griffy Hildalgo. Perfect to start a roadtrip! Tetelepta & Gerressen teamed up to fill out the A2 with their raw sampling house joint.

For the techno heads among us, yes, the B sides delivered it. B1 start with Bas Amro with his emotional melodies and deep grooves. The closing track for this EP is by Ben Buitendijk, who delivered a true masterpiece 'Detroit Techno Lovers' don't miss it!

Further expeditions into spacey and celestial techno can be found on Blue Veil's second EP for Dichotomy Records.

Danny Clancy's new project assembles four measured and characteristic tracks on the 'Natural Boundary' EP, all wrapped up in Dichotomy's bespoke design aesthetic on the 12' vinyl.

'Three Horsemen Of The Apocalypse' offers a beautiful contrast of dark and light via a heady, acidic techno flavour against ethereal vocals, and 'Broken Pieces' delivers delicate electronica bathed in glorious melody.

The atmosphere remains celestial throughout 'Measure Of Time', with driving toms marching through a blanket of deep, melancholic synths, whilst 'Light Mask' signs off the EP with a rhythmic and percussive workout that teases with its blissful tones.

Girada01 caused heavy rotation among the underground elite and is already considered a future classic. Here you have the follow up, another EP from mysterious unknown producers, full of quality and pushing all the right buttons.

Gavin Hardkiss' first record under the Hawke moniker, released in 1993 and recently found in a nuclear bunker near San Francisco are now available in limited quantity of the original pressing. Featuring the original version plus remixes by Scott Hardkiss and Robbie Hardkiss. Includes the b-side Pacific Coastal Highway #1.

Mineral is a vinyl-only label born out of a long-lasting friendship and a mutually obsessive infatuation with records. The label is geared towards providing a platform for up-and-coming producers, showcasing intriguing and evocative electronic music ready to stand the test of time.

Right after the Ombra Intl. EP 'Ella' and the Duro release 'Luna', Theus Mago presents a new single, "Inertials", which continues his series of pieces inspired by Philip K. Dick's 'Ubik'. Influenced by the main characters of the groundbreaking sci-fi book, "Inertials" is an energetic breaks track with unearthly vocals that reaches it's peak with a dazzling trumpet-like synth. The single is accompanied by a remix from Mexican producer INigo Vontier, which successfully combines organic sounds with an industrial edge, as well as a take from Jamie Paton (Cage & Aviary) that subtlely evokes the soundscapes of Cabaret Voltaire.

Repress

Seven exquisite deep house cuts for you by producer Toyin Agbetu. A forgotten hero responsible for some of the most exquisite music out there. From Streetsoul and Hip Hop to moody Chicago and Detroit inspired House and soulful Garage cuts. All crafted with passion, love and devotion. With this EP Frame Of Mind introduces you to some of his finest works recorded under his Shades Of Black alias selected from several out of print 1990-'92 releases from the Intrique label. Must have for fans of Mr Fingers, Larry Heard! Tip!!

80s influenced Acid completion with 4 diverse approaches to the jacking genre. Featuring A-Eno-Acid, Postelektrik, Type-303 and the Gasman.