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This is Elysia's first official full-length album, existing as part of her Shenandoah Series but now released by FaltyDL's Blueberry Records. It's a concept study that follows Virginian American history, exploring brownness as more than culture or Othering, as geology. As mud, dirt and mineral, enmeshed in lithic, vast time scales.

American narratives are re-examined on this level: narratives of colonized and colonizer, slave histories, impact events and fern spikes, two-spirit and queer indigenous histories. Trans-ontologies are given voice and resonance.

Elysia's inspiration and influence comes from her love and relation to Latin American prog, Bolivian/Peruvian psych and metal, Mexican Tribalo style as well as Crunk/ southern hip hop, American psychedelic folk and Southern blues.

Artists of influence include hip-hop group Crucifix, illapu, Wara, Ruth White, Lady Legend J, Skip James, Quilapayun, Linda Perhacs, Stepin Fetchit and Bert Williams, among others.

Notes on the songs:

Side A

1. American Drift ft. Money Allah

Works as a transevangelistic prayer written by Elysia for Money Allah. Wildly disanthropocentric, follows a transcorporeal and transmutagenetic movement across objects. Based on the hymn "Rock of Ages" written in 1763 and Paul Claudel's notes on the psalter/ stations of the cross.

2. Axacan

Based and named on the violent story of the first Spanish settlement in Virginia, dedicated to Elysia's friend and performance artist Boychild, as well as the late queer theorist, Jose E Munoz.

Side B

3. Petrichrist

Based on the etymology of the word "petrichor," this piece follows a journey in Elysia's Ford Ranger, driving up Shenandoah mountain: an encounter between mountain and vehicle, interactions of non-human objects touching one another in a worlding where all things have agency. Dedicated to writer Jeffrey J. Cohen and Crunk artist Nicole Walker.

A few minutes before the dawn, there is an instant where a soft dim light rends the horizon eastwards and the night prepares to share the heavens with the coming morning. In Italian this feeble glow is called albore' and it also means the beginning of something. "Albore" is a record about an initiation, a spiritual journey that drives the listener into an hypnotic and evocative world made of Yoruba polyrhythms, Middle Eastern impressions, spiritual jazz drifts, Ethiopian groove vibes and afrobeat-like brass sections. It is a mix of different sonic landscapes where the instruments of Volpe's orchestra weave a texture of voices into a sort of magical realism. These 10 compositions pay tribute to John Lurie's late work, the spiritual jazz of Pharoah Sanders and the ethnomusical studies of Lloyd Miller. Written and arranged by Manuel Volpe, the album is ably supported by an excellent production team made up of Massimiliano Moccia, Andrea Scardovi, Kelly Hibbert and Volpe himself under the fine supervision of afro-jazz-fusion expert Andrea Benini (Mop Mop).

Biography
Manuel Volpe (born in 1988) is a composer, producer and musician from Jesi, Italy. He started studying music at the age of 11. Early fascinated by jazz and world music he began to explore these languages with different bands and projects. In 2013 he released his first album entitled Gloom Lies Beside Me As I Turn My Face Towards The Light' (Goatman Records / A Buzz Supreme). Mainly inspired by folk music and the music of the South of Italy, the album was greeted with great favor by the main italian magazines which have underlined the fine writing and arrangement skills of Volpe.
In 2014 he found the Rhabdomantic Orchestra, an open collective of musicians based in Turin.

Schaltkreis Wassermann returning with a 2LP album including all their 1980's minimal synth and soundtrack productions from around the recording sessions of their debut album Psychotron. The bands captured the impressions from the LSD dimension, converted them into synthetic sounds and bringing them to the listeners mind with their music releases. An unique form of art, expecially exciting if you are minding they are from the inner circle of group around Albert Hofmann (the explorer and designer of the substance LSD which changed the world in 1960s). Stella and PJ lived in Albert Hofmans house, on weekends they done their LSD research sessions in their studio, experimenting with their ARP2600 synthesizer.

REPRESS BACK IN STOCK

Italian producer Simone Fedi, hailing from Tuscany, takes things to a whole new level on this third release on Eskimo Recordings. 'Bitter Devotion' is a vocal pop gem with a Balearic tinge, but its bittersweet vocals and the addictive melody will haunt you. For this tune Fedi, a multi-instrumentalist with a knack for pop music and a soft spot for vintage gear, joined forces with a mysterious singer named Lola Rent, and this turns out to be a winning team.

Delsin Records welcomes back Dennis van Gemert aka Area Forty_One for a second EP on the label. It is a second part to the Nocturnal Passions series started back in 2013, and come five years after his first ever release, which was on Ann Aimee in 2011, once again fusing ambient with techno, downtempo and electro.

the new deadmau5 release is again a fantastic hypnotizing tech house tracker !!!! limited 1-sided vinyl edition !!!

he magic happens within our own emotions.' -FEELS Discovered somewhere in the murky corners of the internet, FEELS bring forth the sounds of transcendental dancefloor moments designed for inward travelling mind journeys with their debut EP on Naked Naked.

Pet Shop Boys will also play a four-date residency entitled Inner Sanctum, at London's Royal Opera House on July 20th, 21st, 22nd & 23rd. Staged by designer Es Devlin and choreographer Lynne Page, these will be Pet Shop Boys only UK concerts this year.

New collaboration between Ford Foster and Lansdowne making their debut on Just Left White.

Minupren ist in der härteren Technoszene einer der verrücktesten und kreativsten Köpfe seiner Zeit. Kaum ein anderer steckt so viel Leidenschaft, Mühe, Witz und Emotion in seine künstlerische Karriere wie der gebürtige Kaiserslauterer, der aktuell in Limburg seine Wurzeln schlägt.
In diesem Album beweist er mal wieder mit harten Bässen, verrückten Vocals, einschlägigen Melodien und einer Geschwindigkeitsspanne zwischen 150 und 220 BPM auch nach mittlerweile 12 aktiven Jahren in der Szene seinen Abwechslungsreichtum.
Besonders hervorzuheben ist der Technotanz. Diese Nummer hat sich bereits weit vor dem Release zum Szeneohrwurm entwickelt und wird nun endlich in voller Länge und nur auf diesem Album zu haben sein

The radio is a memory machine. It is an airborne exchange of information between celestial host and terrestrial audience. Radio is a medium which configures collective cognition through mass media, harmonizing voice and anonymous ear. The magic radio exists in its connectivity.

For many in their formative years. This connection occurs within the emancipated preserve of the college radio. Beats in Space began and perseveres in the preserve, though its reach now extends beyond campus to wider culture. As a student, Tim Sweeney began broadcasting on WNYU in 1999. Twelve years later, Sweeney created a label under the same name, preserving waveform memories permanently to wax.

BIS001-020 is a compilation surveying the first twenty Beats in Space Records releases. In keeping with the sensibility coveted by Sweeney during his time on air, it's clear what makes these releases harmonious. Theses an attitude: a little bit rude, but softened with sensitivity. There is a sense of motion narrative and duration: a dedication to crescendo, a theatricality that never yawns. An appreciation for melody, but no at the expense of propulsive percussive textures.

Musikinstrumente sind eine Art technologische Anomalie, da sie nach ihrer Konzeption nur selten erneuert werden und über einen jahrhundertelangen Zeitraum meist nur kleinere Veränderungen erfahren. Dadurch zeigt uns jedes Instrument eine Momentaufnahme der Spitzentechnologie einer bestimmten Zeit und eines bestimmten Ortes. Diesen Gedanken fortführend, bietet die Instrumentation, die vom Immix Ensemble für "Transition" genutzt wurde, eine Übersicht über bis 1500 v. Chr. zurückgehende Technologie. Nutzt man diese Momentaufnahmen als Startpunkt, so stellt jeder Satz von "Transition" ein oder zwei Instrumente in den Vordergrund und erforscht, zumindest thematisch, eine herausragende Erfindung oder Entdeckung, die zur gleichen Zeit stattfand oder erschaffen wurde, wie die Instrumente selbst. Die Zusammenarbeit mit Vessel ergänzt diese technologische Chronologie mit den Werkzeugen des digitalen Zeitalters. Das Immix Ensemble leitet der australische und heute in Liverpool lebende Komponist und Saxofonist Daniel Thorne. Es wurde 2014 mit der Absicht gegründet, unterschiedliche und innovative musikalische Stimmen zu verschmelzen. Mit Vessel, dem Alter Ego des Elektronik-Künstlers Sebastian Gainsborough aus Bristol, fand das Ensemble einen geeigneten Partner für seine zukunftsweisenden Kompositionen, die zwischen den Grenzen von traditionellen und zeitgenössischen Stilen hindurchgleiten.

Various Artists / 08 ep from Only 300 Family Recordings outlines a Black Cosmic Forest growing, through organic
vibrations and delightful sounds. Hypnotic. Resilient. Overwhelming. Featuring tracks from Verrina & Ventura,
John Dimas, Giammarco Orsini & S-Audio. VINYL ONLY!

Azzido Da Bass and Stevo Wilcken co-wrote their first original song "Dooms Night", which was released in 2000 at the Love Parade in Berlin. Although the song did well in Germany, it languished outside the Top 40 of the UK Singles Chart until a remix of the song was released by Timo Maas. The remix's popularity sent the track to #8 in the UK chart.

The massive 2K14 version is prod. by DJ WORRIS and based on the great classic Remix by TIMO MAAS !!

The 2014 version will rock the dancefloors worldwide !

[A] A1 | Don't Stop The Rock (Bigfreakbeatreconstruction)

LIMITED (1000 COPIES) 10YEARS EDITION WITH CD

Momentform is the musical project of Ianis Lallemand, a multitalented artist from Paris. After three cassettes and two twelve inches, Momentform has landed on the Electronic Emergencies platform. "Lapse" is a four track 12 inch that is best described as a dark and melodic piece of neo synth wave. The sound is unmistakably analogue. The atmosphere is emotionally charged, haunting and dreamy.

Eine lieblich-ansteckende Melodie, sexy Vintage-Sounds und ein positives Lebensgefühl - so klingt "Fade Out Lines" von The Avener. Und auch das Musikvideo holt euch die kalifornische Sonne und die Goldenen 50er nach Hause. Im Video ist eine Frau und ein Mann zu sehen, die leichtfüßig durch einen sommerlichen Tag spazieren. Der Song ist im Übrigen ein Rework von Phoebe Killdeer und The Short Straws Original-Track "The Fade Out Line".

A new four track EP by Hexagon aka Conforce on his own imprint. Doing what he does best. Making deep imaginary techno music with otherworldly authentic atmospheres without any concessions. The title track sucks you into desolate interstellar territories paying hommage to 606 rhythms with emotive strings on top that determine the total atmosphere of this killer advanced electro cut. Human meets machine in it's purest form. Pitch Black leans on accurate programmed heavy broken percussive patterns and is the most functional track of the EP. Functional but it's haunting atmosphere lifts this to a different dimension. Continuum dives deeper into sonic territory with a mysterious stealth missional vibe caused by it's unpredictable sparkling crispy effects and mysterious pads. Systematic Repetition leans on pulsating modular bleeps and dubby basses and is the most techno orientated cut of the whole EP. It wouldn't be a Conforce record if there weren't any strings and pads attached to it.

Who is the mysterious Ketsueki Sakuru A lone warrior from the far east or an already established artist working under another name We here at Giallo Disco cannot be sure, but are confident in their ability to detonate dancefloors and provide the correct ambience for walkman-missions everywhere. Sounding as if Muslimgauze was a confirmed New-Beat devotee or if Unit Black Flight was from Dubai by way of Tokyo and specialized in videogame soundtracks. The Blood Meridian EP is music for desert wastelands and murderjunkies. Mastered by Brassica, Art by Eric A. Lee.

Die "Tempa Allstars"-Kompilationsreihe ist seit ihrem erstmaligen Erscheinen im Jahr 2003 - und damit den
Anfangstragen von Dubstep - so etwas wie ein Lackmus-Test für die UK-Underground-Szene. Deshalb schon
mal vorweg: Auch die 2015er-Ausgabe Nummer 8 kann bestätigen, dass mit der Bass-Musik im Vereinigten
Königreich alles in bester Ordnung ist, die Zusammenstellung enthält ausschließlich Killertracks. Das Lustige
an der Serie ist ja, dass sich auf der Doppel-12'' statt der angekündigten Label-Allstars eher die Newcomer
finden. Und wenn dann doch mal Skream oder Benga Eingang in die Pressung gefunden haben, dann
weniger mit labeltypischem Trademark-Dubstep, sondern vielmehr mit UK-Funky- oder 130-BPM-Nummern.
So verhält sich das auch bei "Tempa Allstars Vol. 8". Der Sampler bietet eigentlich nur einen "echten"
Dubstep-Track von Distance & Youngsta, die Nummern von Acre, Cliques, Biome und Epoch bewegen sich
im 130er-, das Stück von Fracture sogar im 160er-Bereich.

limited to 300 hand numbered copies with 350 gram sleeve (metallic ink impression) - hand signed innersleeve with lyrics - solid white vinyl
The very awaited vinyl debut of the American duo BOY HARSHER considered by the specialized press as one of the most fresh and remarkable projects of the present moment in the states. The dark electronic duo produces gritty dance beats infused with ethereal vocals, creating a sound that is eerie, intense and incredibly danceable. Augustus Muller develops the underbelly of sound with minimal beats and grinding synths, where Jae Matthews whispers, screams and chants on top. Together, the music created is somewhere between EBM, drone and confessional storytelling. All tracks have been analogically remastered specially for this vinyl version. Including Pain, Lust, Modulations and Spell.

Pollyester sind Punk- und Pressephänomen, Lieblingsband und Lover Crew, Disco und Dada. Finden James
Murphy und Alex Kapranos, und die müssen es schließlich wissen. Ihrer grandiosen "In My Boots"-EP aus
dem Frühjahr 2015 schickt das Kollektiv nun die 12" "Catrina" hinterher. Ein halbes Jahr später, aber wieder
eine Remix-Maxi, und wieder ein Stück aus dem gefeierten Erfolgsalbum "City Of O." vom Januar. Muss das
sein Wenn's so gut klingt, auf jeden Fall. Abe Duques Remix komprimiert den Beat und glänzt durch
reduzierte New Yorker House-Attitude. Schemenhaft hallen Fetzen von Pollys Stimme durch den
Background, im Dunkeln sucht eine 303 den Weg an die Oberfläche, wo epische Disco-Streicher darauf
warten, sich in pollyphoner Glückseligkeit zu vereinen. Ganz anders der Remix von The Emperor Machine,
der sehr düster und funktional ausfällt. Klarer Fall von Detroit Techno, der um klassische Electro-Muster
angereichert wurde. Abgerundet wird der Spaß von Mr. Disco Edit persönlich. Hugo Capablance haucht dem
Original ein wenig karibischen Voodoo-Zauber ein. Betörend klappern die Percussions, während gezielt
platzierte Glöckchen und eine amtliche Schwurbel-Bassline die Melodie nach vorn treiben.

The German duo, known for their mission of inspiring fans to experience electronic music in a deeper, wider, more

Nachdem unlängst der Backkatalog der französischen Dreampop-Band M83 mehr oder weniger in Gänze
wiederveröffentlicht wurde, steht 2016 mit "Junk" endlich mal wieder ein neues Album in den Regalen. Dabei
war Anthony Gonzalez, Mastermind, Songwriter und Sounddesigner von M83, nach "Hurry Up, We're
Dreaming" (2011) alles andere als untätig. Nur eben in einem anderen Metier beschäftigt. 2013 produzierte er
den Soundtrack zu den beiden Science-Fiction-Filmen "Oblivion" mit Tom Cruise in der Hauptrolle sowie für
"Divergent - Die Bestimmung", 2014 folgte die Filmmusik zu "Das Schicksal ist ein mieser Verräter". Den
Großteil der Instrumente auf "Junk" spielte Gonzalez selbst ein. Unterstützung erhielt er dabei vom
renommierten Produzenten und Multiinstrumentalisten Justin Meldal-Johnsen, dem Saitenvirtuosen Steve
Vai, der französischen Sängerin Mai Lan, der Alt-Rock-Legende Beck sowie der Sängerin und Songwriterin
Susanne Sundfør aus Norwegen. Seinen Titel bezieht das Album aus Gonzalez' lange gehegtem Wunsch,
organisiertes Chaos zu vereinen. Das heißt eine Sammlung von Songs einzuspielen, die für sich genommen
zwar stimmig sind, aber nicht den Anspruch haben, miteinander zu funktionieren. Weiß man allerdings um
Gonzalez' Faible für die Achtziger, dann ist klar: Verschiedenheit mag bei "Junk" Trumpf sein, aber eine
verbindende Ästhetik gibt es trotzdem. Und die klingt typisch M83.

Das erste Solo Album vom Hannoveraner House Produzenten, Remixer, Ghostproducer und AllzweckWaffe MARC REASON... Im letzten Jahr hat sich einiges im Leben von Marc Reason verändert. Vom Dauergast der hiesigen DJ Charts, bereist der DJ inzwischen sogar den Nahen Osten, um dort seine neuesten Tracks zu präsentieren. - Beat For Me' ist ein quasi Best-Of Album mit allen großen Marc Reason Hits wie Sandstorm, Lizard, Arabian Pleasure, Move Your Feet, Stand By Me und außerdem eine Auswahl seiner Remix-Arbeiten...

Six new tracks by the Body Boys, that concentrate on the project's ambient side. Sculptural, yet psychedelic pieces.

"As the artists himself puts it, this tape is "neither pointless free noodling nor endless spiritual drones", most definitely falling somewhere into the less explored region in between. D. Glare is the solo guise of Dom Clare from tQ-approved techno duo Chrononautz, and these two vast and strange montaged loop-scapes make for a pretty damn powerful first statement, well placed in the midst of Opal Tapes bleak roster. Both tracks are circa 35-minutes long, and both stem from the same sonic limitations as described in the albums title.
Side A is the fully realised final piece using only 68 samples at 68 BPM, and is filled with plenty of vacant space as D. Glare sparingly cycles through his bag of slow-paced and glitchy sounding loops. Theres snatches of murky voices, pianos, crackling static, and only a handful of bassy tones (the absence of low end in several longer passages winds up sounding what Prince fans would describe as haunting), and the entire exercise never ceases to be intriguing. The loops are cycled and chopped up, repositioned and skewed, and the atmosphere is for the most part woozy and gothic, paying off in the third act with minimal beats and release as bass enters the picture. Side B collects "failed starts, experiments with the phase levels, grooves that felt good but didn't pan out", but winds up in many ways more approachable than the first side. The centre section is a massive throbbing banger that mutates into a few different shapes and industrial grooves before climaxing and disintegrating into fuzz."

Dieter Moebius, Teil des legendären Duos Cluster und Pate des Elektro-Krautrocks, starb im Sommer 2015.
Aus diesem Anslass bringt Bureau B seine letzten vier Soloalben noch mal heraus. "Blotch" erschien
ursprünglich 1999. In dem umfangreichen Oeuvre des Künstlers leitete der Longplayer eine Wende ein. Bis
dahin hatte Moebius mit "Tonspuren" rund 17 Jahre zuvor erst ein einziges Solo-Werk veröffentlicht. Fortan
erschienen bis zu seinem Tod vermehrt eigenständige Arbeiten. Insgesamt wirken die Titel dieses Albums
wie loopbasierte Skizzen, die stoisch in experimentelle Klang-Atmosphären eintauchen und den Hörer -
gewürzt mit eingeworfenen Sprachfetzen - lustvoll in kleinsten Variationen und Umspielungen hypnotisieren.
Deutlich sticht der überraschende, zwölfminütige Titel "Kohlzug" mit dem im No-Wave-Stil gespielten Saxofon
heraus. Hier fühlt man sich an eine entschleunigte Jazz-Punk-Version Ted Miltons erinnert. Klanglich ist
"Blotch" ein Kind seiner Zeit: So nutzte Dieter Moebius ein E-mu Orbit 9090-Soundmodul und den damals
noch aktuellen Solosynth Korg Prophecy, einen wegweisenden Digitalsynthesizer, der schon früh
verschiedene Algorithmen beziehungsweise Syntheseformen bereitstellte, um die Klangfarben analoger
Synthesizer detailliert nachzubilden.

Dieter Moebius, Teil des legendären Duos Cluster und Pate des Elektro-Krautrocks, starb im Sommer 2015.
Aus diesem Anslass bringt Bureau B seine letzten vier Soloalben noch mal heraus. "Blotch" erschien
ursprünglich 1999. In dem umfangreichen Oeuvre des Künstlers leitete der Longplayer eine Wende ein. Bis
dahin hatte Moebius mit "Tonspuren" rund 17 Jahre zuvor erst ein einziges Solo-Werk veröffentlicht. Fortan
erschienen bis zu seinem Tod vermehrt eigenständige Arbeiten. Insgesamt wirken die Titel dieses Albums
wie loopbasierte Skizzen, die stoisch in experimentelle Klang-Atmosphären eintauchen und den Hörer -
gewürzt mit eingeworfenen Sprachfetzen - lustvoll in kleinsten Variationen und Umspielungen hypnotisieren.
Deutlich sticht der überraschende, zwölfminütige Titel "Kohlzug" mit dem im No-Wave-Stil gespielten Saxofon
heraus. Hier fühlt man sich an eine entschleunigte Jazz-Punk-Version Ted Miltons erinnert. Klanglich ist
"Blotch" ein Kind seiner Zeit: So nutzte Dieter Moebius ein E-mu Orbit 9090-Soundmodul und den damals
noch aktuellen Solosynth Korg Prophecy, einen wegweisenden Digitalsynthesizer, der schon früh
verschiedene Algorithmen beziehungsweise Syntheseformen bereitstellte, um die Klangfarben analoger
Synthesizer detailliert nachzubilde

Auf dem zweiten Album seines späten Solowerks suchte die 2015 verstorbene Krautrock-Legende Dieter
Moebius nach Fehlern, um diese als kreativen Motor zu nutzen. So gesehen bietet "Nurton"
Experimentalmusik. Anstatt klanglich die Instrumente einer Band-Besetzung zu imitieren und einem
herkömmlichen Songschema zu folgen, bricht Moebius diese starre Herangehensweise auf. Variationen und
Kombinationen aus Geräuschen und Sounds bilden die Basis für 13 Stücke, die munter jegliche MainstreamErwartungen ignorieren. Häufig beginnt Moebius seine Tracks mit geräuschhaften Loops, um dann Schicht
für Schicht weitere Klangebenen zu ergänzen. Bedrohliches Industrial-Quietschen, Schnaufen und
schleppendes Stampfen legen sich über und zwischen digital verspielte Lead-Sounds oder werden mit
meditativen Drones unterlegt. Fast unmerklich lockt Moebius den Hörer in eine wohlige Hypnose, von der
man sich wünscht, sie würde nie enden

limited to 300 hand numbered copies with 350 gram sleeve (metallic ink impression)
SCRATCH MASSIVE is the very recognized and known project of the french Maud Geffrey and Sebastien Chenut. Theyre well known for their large carreer, including works for several movies and OST. This truly jewel EP includes one of the best synthwave tracks of past decade, (Golden Dreams), uncomprehensible unreleased on vinyl format to date, and apart of the original version, we will find a new danceable/dj friendly' version published for the very first time on any format (Golden Dreams II) and as well the darky and minimal Nuit De Mes Rêves' featured on the movie As Above So Below'. All tracks have been analogically remastered specially for this vinyl version. Including Golden Dreams II, Golden Dreams and Nuit De Mes Rèves

(180g yellow colored vinyl, CD included) Following 'Smile' with Etienne de Crecy, Alex Gopher is back with a new four-track EP on his own GO4 imprint. French soulful house music!

This record is wrapped in a funeral card which has to be
presented at the entrance to the funeral party.

English producer and DJ Neville Watson will release his debut album on Dutch label Crème Organization in May 2013. Entitled Songs To Elevate Pure Hearts, it sees Watson explore similar ground to that of the EPs he has released on labels like Teng and Clone Jack For Daze dating back a whole decade. Watson, who also set up Windsor's much loved Mighty Atom record store and label, has become synonymous with re-interpreting classic Chicago house sounds in his own heavily analogue way. His productions often deal in an authentic rawness and roughness, whilst as a live specialist he has been much in demand in recent times thanks to boundary nudging outings at clubs around Europe with Bulgarian partner in Crime, KiNK. The album offers eleven tracks, kicking off with the serene 'Dark Star' before immediately getting fractious with the twisted lines and crisp percussion of the title track. Though containing plenty of material for the dancefloor, so too is this a carefully programmed trip that takes you up as well as down, with the likes of 'The Girl From Kowloon Tong' exploring beat-less, melodically intoxicating territory between harder hitting joints like the widescreen, dubby techno of 'Against The Tide' and controlled, machine frenzy of 'Everything I Know About House (I Learnt On Facebook)'. Tracks like 'Axiomatic' prove Watson as adept at crafting occult moods and unusual feelings as he is the more physical beats and classicist stylings of the ode to real house music that is 'Son of House'. Taking you up, down, backwards and forwards through time and space, 'Songs To Elevate Pure Hearts' does exactly what the title suggests, no matter how pure your heart.

Hypercolour proudly announce the latest long player from UK stalwart, Ed DMX AKA DMX Krew, the visionary British electronic producer who has been responsible for a slew of excellent releases for labels like Rephlex, Spectral Sound, Permanent Vacation and his own Breakin' Records and Fresh Up Records since the mid 1990s. 'You Exist' is DMX Krew's debut appearance on Hypercolour, and as expected the record features nine tracks of beautifully crafted, melodic electronic sounds. From the opener 'Spiritual Encounter', DMX sets the tone perfectly with oodles of pitch perfect synth riffs and driving drums, working his way through snappy and bright pop moments like 'Hard Copy' to more melancholic, darker cuts like 'Computational Paradigm Shift'. DMX breezes in and out of electro techno territory to more contemplative IDM vibes with ease, testimony to the guy's talent (that's also seen him wear the hat of over 10 aliases throughout his career to date). 'You Exist' captures a very true and genuine musical form, produced and delivered with love from one of the scene's unsung heroes, and makes it a great companion piece to another Hypercolour released album from similar stock (take your pick from Luke Vibert's 2014 'Ridmik' album or his latest Kerrier District LP). A consistent and engaging album then from DMX Krew that will pleasure the ear buds of discerning listeners everywhere. Select DJ reactions: Soulphiction - Dope album, expected nothing less! Breach (Dirtybird) - Lovely lovely lovely!! John Heckle - Great as usual Catz 'n Dogz - Wow, huge DMX Krew fan, a great album Dave Harvey (Futureboogie) - Love this, top drawer business John Osborn (Tanstaafl) - Spiritual Encounter is dope Ellen Allien (BPitch) - Amazing album DJ Deep (Tressor)