House Vinyl New Releases - News

Non Volevo Ma Volavo strikes back for yet another trip down memory lane.



Four timelessly ecstatic cuts that survived the slow passing of time, retraced and restored from the archives of Italian dance legends (Visnadi, Gambarelli), specially crafted to make you fly over the dancefloor today, just as they did back then.

Repress!

Given the vital importance of your contribuNon as a member of the music community in France, we would like to tell you about our new approach – which aims to miNgate the impact of the current lack of events and fesNviNes – and explain iniNaNves organized to provide the best possible response to both your needs and those of the clubbers you are helping during this extraordinary crisis. Pixadelic and E.enne de Crécy are working to make new tracks available and help to limit the gloom that has been furNvely emerging over this period with the producNon of a third release in the Commercial ep series.
Begun in 2006 and halted in 2007, the series achieved very promising results, encouraging fun on the dance floor all over the world. In view of recent events, we felt it was urgent to conNnue our efforts in that direcNon. The result is two tracks: JUNK and DRUNK, whose effects on the body sNmulate those rushes of communicaNve excitement that have become essenNal at this Nme. We will be supplying these resources to players in the sector in order to contribute to cultural and fesNve events in France and the other countries of the world.

R.A.N.D. Muzik returns in 2021 with the debut EP from Jay Gadian featuring house, breaks and electro.

Eight individual projects with various international origins, these two ep’s contain reworked and remixed material of Takuya Sogimoto’s early work that has been released on acido in 2020 and 2022, as well as some unreleased trax from 1994/95. Packaged in two editions of 300 copies, released separately.

A warm welcome for Frenchman INVŌKER, as he returns to TAU with more digital delights from his fertile lab. Since arriving on the scene INVŌKER has established himself through a series of phenomenal releases, each of which encapsulates his dextrous touch and vision. With impeccable production and plenty of dance floor appeal, his tracks feel like they’re made for TAU. This time he delivers a four-track EP full of flavour.

Carl Finlow keeps on keepin' on. Not only is Finlow one of the most respected names in electro, a producer who boasts a sprawling catalogue that takes in a wide variety of aliases, but he's also spent recent years establishing himself as a mainstay for Sheffield's Central Processing Unit label. Soft Robotics, the new EP from Finlow's Silicon Scally project, is the fifth Silicon Scally release in five years to boast one of CPU's instantly-recognisable black-and-white covers.

The reason that Silicon Scally and CPU keep linking up is simple; they're a perfect fit for one another. Central Processing Unit has established itself as a haven for post-Drexciya producers since launching in 2012, and there are few artists better than Finlow at building on the Detroit group's sound. The union bears fruit once more on Soft Robotics, an EP of lithe machine-funk jams that will both do damage in the dance and also reward more concentrated home listening.

Things begin at a steadier speed than one might expect. Rather than barrelling off with the kind of sinewy roller one associates with the CPU name, Soft Robotics' title-track takes things at mid-pace. The groove reveals itself without hurry, Silicon Scally adding or subtracting elements - twitchy modular loops, pensive pads, the occasional blurt of low-end - atop the chugging bass/drums groove. It's a track which wins you over with guile rather than force.

As the name of subsequent cut 'Jitters' intimates, this one picks things up a little after 'Soft Robotics'. The tempo is higher here, the central beat more nervy. At their cores, though, 'Jitters' and 'Soft Robotics' are kindred spirits. Here, another slyly insistent bit of drum programming comes swirled up with all sorts of extraterrestrial tones, from little nuggets of melody supplied by the keys to electrifying synth stabs and percussive squelches.

Things limber up further still on first B-side 'Spin Ratio'. The track's 808 kicks are punchier than those of the A-side jams, and there's a dizziness to the bass tone which gives 'Spin Ratio' an intriguingly off-kilter feel. Atop the booming beat we find ourselves hypnotised by cells of melody and harmony interlocking or moving apart - particularly the staccato module at the track's heart. Sure enough, 'Spin Ratio' is the Soft Robotics joint which cleaves closest to Drexciya, invoking other Detroit disciples like Jensen Interceptor in the process.

After Soft Robotics picks up speed in the middle, closer 'Super Fluid Tones' brings us back to where we started. This track returns to the more measured delivery of the record's opener - there's a steady pulse to the drums, and once again Silicon Scally packs the mix with so many intriguing whizzes, bangs, blips and blurts that it's impossible not be won over by this tune's construction. 'Soft Robotics' and 'Super Fluid Tones' bookend Soft Robotics very nicely, and Silicon Scally's smart pacing gives the EP a lovely ebb and flow.

The ever-excellent Carl Finlow drops a Silicon Scally release via Central Processing Unit for the fifth year running. Like its predecessors, Soft Robotics is an excellent and deftly-crafted collection of modern machine-funk.

RIYL: Drexciya, Jensen Interceptor, Fleck E.S.C., The Advent

Architect by day and musician by night, Jaime Tellado picks up as Skygaze, and returns to the fold of Flumo Recordings with his brand new 12”, the ‘Astral Trip’ EP; combining his knowledge of architecture with a love for sound to construct and merge acid house, broken beat and atmospheric melodicism.

The 'Astral Trip' EP follows releases on Guayaba records, Riverette and Thirty Three Circular. And remixes for Ed is Dead and Contours & Yadava, earning support/plaudits from the likes of Mr. Scruff, Simbad, k15, Andrew Jervis, Gilles Peterson, amongst others.

The common denominator throughout the release is the balance and combination of various elements, exploring a multifaceted contemporary dance sound whilst paying homage to the foundations of the sounds that we listen to today.

‘Minor Mood’ pays tribute to Chicago and Detroit with its high paced house rhythm, acid synths, and piano lines, whilst ‘City Cathedratics’ slows the tempo down to lay the groundwork for a dreamy synth-laden soundscape.

Whilst the majority of the project is a solo exploration in dance music and its multi-layered context and history, the contributions of vocalist Ruben Ondina lift the high-paced, synth house grooves of ‘Gimme Five’ to another level. Meanwhile, the broken beat influence of London is keenly felt on ‘Nigh Heat’ and ‘Wagwan’, their rhythms emphasised further by harmonic and melodic exploration via atmospheric synths, melodic improvisation and irresistible synth bass lines.

Skygaze reconstructs the rhythms and synths into his own fresh and unique package to paint a picture of spiritual wonder, richness and excitement.


DJ Support:

Severino / Horse Meat Disco
Ashley Beedle
Fouk
Just Her
John Digweed
Oliver Dollar


DJ Feedback:

Ashley Beedle - Fantastic EP and difficult to pick one track! 'Wagwan' will be ft. on my April 'Heavy Disco Spectacular' radio show on Worldwide FM.

Michel De Hey - Very nice release

Diynamic / Connaisseur - Very nice cosmic vibes!

Xinobi - serious knowledge of groove on this release.

Lex Ludlow - Super nice!!!

Joshua James - Groove on this...

Just Her - Gimme five is really nice

Fouk - Loving this!

Tom Simpson - some good stuff ....summer is coming.

Junior Simba - peng !

Willie Rosado - nice soulful sound

Dublin producer Lukey has his finger firmly on the pulse of the sounds emanating from Berlin and London’s newly awakening dancefloors, as proven by this stellar debut for Carpet & Snares’ LAB series. Contemporary club music is all about opening up the space between genres and filling it with something at once referential and new, and this EP is no exception.

Other Worlds Vol. 1 effortlessly blends house, techno, electro and breaks into a mature sound world that’s both tight and expansive, funky and tough, contemplative and right down to business. Get moving with Vol. 1, and watch out for Vol. 2 coming soon!

After the success of Vol. 1, Dublin producer Lukey returns for Other Worlds Vol. 2 on Carpet & Snares’s LAB series, once again blending house, techno, breaks and electro into something cutting-edge and distinctive. The loping grooves, tight percussion and yearning harmonies we fondly remember from the first record are present and correct again across four streamlined club-ready tracks, taking in moods from early hours to peak time.

finally repressed!

Self Learning System present their very ¦rst record and
deliver a new label focussing on conceptual work as well as
interdisciplinary art in full effect. We believe in the human
mind as a self-learning system - creators and originators
connected all around the globe aiming to keep the scene
alive. We want to cultivate a community and platform for
exchange with other artists pursuing music, design, art and
events. Our ¦rst strike comes as “The Arrival Of Unisex &
Ernst”, a split EP of the two labelheads to introduce
themselves and the sound of SLS. The record contains six
analog hardware tools ranging from classic Electro to
Industrial. SELF001 also includes an A2 inlay print of
Dominik Widmanns acrylic painting „Fabric“ (as pictured).
His artworks will cover our ¦rst three records, ¦tting perfectly
with the cold and futuristic soundscapes we want to
showcase. Self Learning System is based in Leipzig, where
we work together with the local R.A.N.D. Muzik record
pressing plant and InchByInch distribution.

Few artists find a unique path and even fewer remain committed to it, but with insatiable ambition, Berlin's BOYS NOIZE turned principled dedication into an outsize presence among 21st century DJs and electronic musicians. A career punctuated by audacious cross-genre exploration has earned him an enviable fluidity of practice across borders and scenes, yet his definitive fingerprints are present on every creation. An underground hero with mainstream appeal and acid-dripped, techno-punk sensibilities, he jumpstarts crowds from Berghain to Coachella. In 2021, BOYS NOIZE’s fascination with traversing dualities hits a new apex on his fifth studio album +/- (pronounced Polarity)

“The album dives into the polar tension between the musical styles and worlds I find myself in,” says BOYS NOIZE. “When you combine opposites, something transcendent can take place, something greater than the two parts.And with music, it becomes a magic that can create new worlds.”

The German-Iraqi producer and DJ (born Alex Ridha) never thought much of rules or restraints. His 2007 debut album Oi Oi Oikicked down the door to the music industry, brashly refracting a record collector’s deep knowledge of industrial, house, and techno through a prism of raucous energy and raw production in defiance of the aging dance music establishment’s genre conventions. Self-releasing the LP on his own label, Ridha and Boysnoize Records (BNR) became a gravitational force for an international subculture of new sounds and attitudes sparking fires across clubland. BOYS NOIZE ´s reputation had grown among the fashionable favorites of the indie revival, who sought to bolster their bands’ singles with his rapturous re-edits that fused guitars and synthesizers. With deft mixing, singular taste, and a prowess for connecting rockers and ravers on the dancefloor, the prodigious DJ began playing hundreds of shows spanning a multitude of countries near and far. A tipping point was reached, however, after BOYS NOIZE dropped his intoxicating, anthemic remix of FEIST’s “My Moon My Man,” which buzzed with the start of festival season before soaring to new heights as an inescapable viral hit. The field was now wide open for Berlin’s iconoclastic originator, with every head turning to see what he’d bring next.

While some would temper their edge after finding crossover success, BOYS NOIZEleaned harder into his unorthodox blending of rave and punk, indie and industrial. Reflecting this eclecticism, his next LP, Power, earned him even greater global attention and energized a growing fanbase. Out of the Blackbroadened the scope of his potential, proving, with “Got It,” that even SNOOP DOGGhas a place in BOYS NOIZE ´selectric universe. Both technically masterful and enthrallingly anarchic, 2016’s Maydaydelivered a cinematic soundtrack of synergistic songcraft, rushing forth on a dark wave of industrial rave. Even with his relentless experimentation, BOYS NOIZEremains devoted to Berlin’s electronic music foundations, and Strictly Raw Volumes 1 and2serve as a “no talk, all action” flex of techno-essentialist finesse.He also remains resolutely independent, releasing all of his albums—including +/-—on his own BNRimprint, which celebrates its 16th year in 2021.

One outlet is not enough, however, for BOYS NOIZE ´s perpetual flood of ideas and unstoppable productivity, and so numerous collaborative, pseudonymous, and anonymous side projects have offered new territories for creative freedom. As OCTAVE MINDS, he exchanges timbre and melody with maestro pianist CHILLY GONZALES. Handbraekes’ unhinged, avant-garde disco is the brainchild of BOYS NOIZE and surrealist polymath MR. OIZO. And reaching out across the Atlantic, a friendship with SKRILLEX brings DOG BLOOD, an overpowered meeting of minds propelling their respective talents forward in unexpected directions.

The collective volume and diversity of these projects has put BOYS NOIZE in high demand among artists seeking his proprietary sonic techniques and peerless production. Berlin’s world-renowned subterranean culture acts as a beacon for international stars who are willing to probe the margins for the innovative and unusual, and it is BOYS NOIZE ´s studio where their fresh inspirations are transmuted into even fresher music with his expertise. Over the years, working relationships have flourished and production credits multiplied, including with such luminaries as LADY GAGA, FRANK OCEAN, A$AP ROCKY, BON IVER, MARK RONSON and FRANCIS & THE LIGHTS. And as an unrivaled remixer, BOYS NOIZEhas been enlisted by DEPECHE MODE, RAMMSTEIN, DAFT PUNK and DAVID LYNCH, adding his signature to the work of artistic royalty. Even while personally embracing an outsider role, BOYS NOIZE finds his influence penetrating the center:2020 was marked by a GRAMMYnomination for his collaboration with SKRILLEX and TY DOLLA $IGN“Midnight Hour”—an unlikely blend of late-night R&B, oldskool rave and hard house—while 2021brought a GRAMMY win for LADY GAGA ´s “Rain on Me,” feat. ARIANA GRANDE.

“I've always been inspired by trying to integrate opposing, polar forces,” says Ridha. “There's something really thrilling in it, and it's always a secret motivation for me; building and exploring the combination of contrasts. Techno’s earliest inspiration was the idea of combining man and machine. And you can continue from there—aggression and beauty, past and future...”

BOYS NOIZEs +/-encapsulates a distillation of his career-to-date in waveform shape, where valleys of subterranean techno, industrial and jacking house transition into peaks of star-driven collaborations. Backed by the club adept’s battering beats and cloaked in deep, immersive textures, the songs, while rich, possess a mean bite—even +/-’s most melodic moments bare the sharpened teeth of Ridha ´s modular synthesis and processing; a new breakthrough for the gear lover.

“When I first entered the modular synth world, there was this moment of, 'What the fuck? I’ve never heard that sound before,'” Ridha explains. “To me that was huge, because I always try to make harder sounds than those that previously exist. With modular synths, it's not like having different guitars or a keyboard with different patches. It's going one step further—you must build the guitar, then decide what it will sound like,how it will be played, in what ways it will react. This process is incredibly inspiring to me. It's this mystery of, 'What am I gonna patch together next, and what is it going to do?'”


The +/-album exhibits BOYS NOIZE ́s evolutionary blueprint for bridging diametrical musical positions, while testing the limits through self-discovered modular workflows. A sense of otherworldliness and a suspension of time is shared on “Affection,” an ethereal, trance-gated Atlanta Bass singalong featuring alt-R&B singer ABRA. One also finds this feeling in the monumental, metallic atmosphere of “Act 9,” a brooding ballad featuring VINSON. “Ride or Die” with KELSEY LU and CHILLY GONZALES has BOYS NOIZE juxtaposing the beautiful with the delirious. A tapestry of blissfully affective moods is woven through a pummeling tribal backbone, as if LU’s lush melancholy arrives to heal all the synapses seared by 140 bpm excess. The essence of +/-is found in such paradoxical worldbuilding and the undeniable attraction it elicits through the unfamiliar, a rare accomplishment in an era of algorithmic refinement

“Polarization was a word that arose constantly during the writing and recording of thisalbum, whether in the news or in my own understanding of the different aspects of my music,” says BOYS NOIZE. “But ‘polarization’ assumes that everything must be black and white—the truth and the music deserve to be far more complex.”


Collaboration, however, does not come at the cost of having to compromise. BOYS NOIZE ́slifelong commitment to the throbbing, dark energy of the underground makes its presence known throughout +/-. Each single, whether “Girl Crush” with RICO NASTYor “Nude” with TOMMY CASH, comes paired with a b-side that would challenge any of the aforementioned performers’s fans but revs the engines of the die-hard ravers awaiting their next hit of BOYS NOIZEat his hardest. Visual artist Eric Timothy Carlson, designer of BON IVER’s acclaimed 22 a Million, joined BOYS NOIZEin developing expansive illustrations and iconography for the album and all of its individual works.The artwork offers an esoteric key of glyphs and symbols, mapping the contradictory influences and emotions which served as the elements for an audio alchemy. Through both image and sound, +/-surveys the anything-is-possible output of a distinguished techno producer exploring a newly opened world of distinct collaborations, freed from all confines, in a state of evolution of both genre and self. From the time BOYS NOIZE held his first vinyl record to the release of +/-today, there is still one thing this DJ from Berlin knows will never change: it’s all in the mix.

Texas based Electro giant Cygnus arrives on Science Cult with a timeless cyberfunk 4 track EP. Expertly programmed beats and bass lines mixed with lush synths and vocoders make for an unforgettably smooth sound. Rounding out the EP is an energetic stomper of a remix by The Exaltics. Vinyl includes a download code + digital bonus.

This is the sound of the physical space between one destination and the next.For this, the second Space Trace record we go deeper, darker and more open minded. Four moody cuts, made to be played loud at whatever time or place you may end up in.

Ilija Rudman has tried to make the most of his pandemic-induced lockdown by spending as much of it as possible in the best imaginable way – by pouring his creativity into bold sonic adventures - the newly launched Ilija Rudman Presents Meteor One.

His latest endeavour is characterised by an experimental essence, live-feeling sensibilities and an extraterrestrial outlook. “Meteor One is an outlet for musical experiments recorded and performed as 'in concert' stuff, laying on L.A. Grooves, cinematic, funk and spoken words” . The long arrangements build an emotion of space travelling, moving free through the galaxy... at the same time the music can move dance floors and can set up a beautiful listening experience.”

Meteor One Music is an epic musical journey, unfolding steadily over almost 25 minutes and permeated by carefully selected vox pops and spoken-word vocal samples from deep in the Rudman archives. The often sparsely-arranged instrumentation meanders over rolling drums, while a constantly evolving bass glues together waves of synths and effects as they rise and dissipate. The arrangement glides through ultra-chilled sections into stirringly energetic periods, with Ilija's live feeling there for all to hear. The delicate music helps to cast a uniquely introspective spell, and we're looking forward to hearing how this timely series will unfold.

Limited Repress !

New teachers join The Bass Academy:

UK droids Gods Of Technology (Phil Klein & Simon Brown) featuring Egyptian Lover, and legendary US producer Jamie Jupitor. Must have "Freak Seeker (L.A. Freax)" feat. The Unknown Lover (you'll probably know who's behind) and "Future Computer" sign two authentic Electro Funk pieces in the great tradition of the West Coast sound.

Phat Bass, vocoderized lyrics, sharp 808 drums, and irresistible synth melodies characterize these instant classics guarantee to put you in a circle. Come and take a lesson of music directly from the masters!

True Dutch legend delivers gems on this mega bomb EP for Deeptrax Records! Orlando Voorn is one of the most gifted Dutch producers out there. The man is well known for his many monikers and anthems like Fix - Flash, Playboy - In Da Jungle, Format One - Solid Session to name but a few. Tirelessly releasing classic after classic for almost three decades now, Orlando keeps pumping out tracks and reaches a new high in his creative output with this ultra fresh release! Anthem alert!

Nebulae is back with another cosmic exploration. This time, German duo Not Even Noticed will take you to the planetary Nebula NGC 7026, located 6000 light-years away in the constellation of Cygnus.

Loud Enough proudly presents its second release (LE002), kicking off a 3-EP series dedicated to the Roman Pigna Records, a dancefloor-oriented sister label of Nature Records. Each EP will feature classic tracks alongside exciting new compositions from key artists of the label.
Leading the way is label head Marco Passarani, with two timeless cuts from his renowned Analog Fingerprints alias, alongside two new ones.
As always, expect pulsating rhythms and infectious grooves that are primed to ignite the dance floors. Join us as we embark on a sonic journey that bridges the past and the future.

Nightflight Records adds to it's fine catalog, a return to their intriguing various artist series; this time around with Privacy Policy, Khonsu, and John Shima for the "Supernova" EP... Expect old school lysergic and technological fun across all 4 tracks, as Privacy Policy navigates your mind and body through raw Acid House complete with colorful synth hues in the highs and lovely machine atmosphere on side A, while the B side serenades your ears via modern Detroit and UK influenced Techno grooves with a cosmic presence in the vibes courtesy of Khonsu. Last but not least, the one and only John Shima finishes off this quadra pack with a stellar remix taking your vibes and ears to territories of spacey and warm 90s frequencies. Experience "Supernova" and the quality its 4 tracks provide essential for those who like their House & Techno on the authentic side.

Fastforward 2023, back on the highway with four twisted tracks from Rupert Marnie. The Hamburg based producer with a weakness for spicy japanese food and science fiction novels is part of The Press Group label and Remoto Recordshop, which both has been close to the LV musical mind and hearts – delivers the stuff we want to play with. Fail we may, sail we must.

The Church EP features four high-energy dancefloor tracks in the signature Bootybass style, by the one ''Swoze'' guaranteed to get everybody moving. With Westcoast and G Funky vibes throughout, this EP delivers the perfect mix of fast-paced grooves and soulful melodies that will leave you either pimpin or craving for more.

At the turn of the ‘90s, British dance music gave birth to two interconnected styles that put heavy sub-bass front and centre: bleep techno and breakbeat hardcore. Such was their popularity that the styles inspired countless imitations and mutations, both within the UK and far beyond.

This is the story told in a major new retrospective from Musique Pour La Danse, Bleeps, Breaks + Bass, a carefully curated and well-informed collection of rare and sought-after tracks from the early ‘90s selected by label founders Olivier Ducret and Bunkerheadz. Available on two limited-edition double LPs (each presented in heavy cardboard gatefold sleeves on 180g, half speed-mastered vinyl), compact disc and digital download, Bleeps, Breaks + Bass features artwork by legendary graphic designer Trevor Jackson and extensive liner notes from dance music historian Matt Anniss, author of the acclaimed book Join The Future: Bleep Techno and the Birth of British Bass Music.

A quick glance at the track listing will confirm the depth and variety of Bunkerheadz and Ducret’s selections, which largely sidestep celebrated anthems in favour of overlooked gems, deeper cuts and genuine rarities – all of which have been re-mastered by legendary bleep producer and engineer Rob Gordon (Forgemasters, Xon, co-founder of Warp Records) and half-speed mastered/cut by Sidney Meier at Emil Berliner.

Across the collection you’ll find lesser-celebrated gems from significant figures in the scene (Unique 3’s long-overlooked ‘Digicality’, rare tracks from 4 Hero side projects R-Solution and Tek9); surprise bass-heavy excursions from popular outfits of the period (A Man Called Adam, A Certain Ratio and The KLF’s ‘What Time Is Love’ as remixed by The Moody Boys); significant but frequently forgotten underground anthems (outings from Boneshakerz, Hypersonic, Ubik and KCC); secret weapons (Three Sons, Heychild, Techno Excursion); and even a sub-heavy classic from Norwegian ambient legend Biosphere. It all adds up to a significant celebration of one of the most fertile periods in the development of dance music with bleeps, breaks and bass.

Yandira's solo work debut for Sigourney Discs includes two tracks from the Spoken Bass performance El Tío Caramelo by Sergi Botella aka Yandira: an autobiographical project rooted in Valencia's scene resulting here into a furious 12" with remixes by Dark Vektor, Spear and Erika from Ectomorph. Designed by ferranElOtro Studio, the disc includes a photographic print by Violeta Mayoral remixed as well by ferranElOtro.

The live version of El Tío Caramelo was performed at the exhibition YOU GOT TO GET IN TO GET OUT (La Casa Encendida, Madrid) curated by Carolina Jiménez and Sonia Fernández Pan and at Laut (Barcelona) for CLUBS.

Adrien Calvet delivers a 4-tracker EP for the launch of his new vinyl-only label Stay At Home.

The young producer's style on this project is characterized by his use of minimal, stripped-down electronic beats and rhythms, with a repetitive hypnotic quality.

The Frenchman is known for his unique and unconventional production techniques, and for his ability to create deep, immersive, and soulful tracks that resonate with listeners on a deeper level.

AFTER BREAKING OUT OF OUR HOLDING FACILITY IN EARLY 2017, WE TRACKED THE HUMANOID ALIEN LIFEFORM KNOWN AS "DARLING" TO A DEEP BUNKER IN AMSTERDAM. WHILE WE WERE UNABLE TO GAIN ENTRY TIO THE INNER CHAMBER, AN OPERATIVE SUCCESSFULLY PLACED AN EAVESDROPPING DEVICE CLOSE BY. WHILE MONITORING THE LIFEFORM'S MOVEMENTS, WE WERE ABLE TO RECORD EIGHT MUSICAL COMPOSITIONS OF VARYING LENGTHS THAT IT HAD CREATED USING A RANGE OF ANALOGUE AND DIGITAL ELECTRONIC INSTRUMENTS.
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WE HAVE CALLED THIS COLLECTION "TULIPA MOVES". YOU WILL NOTICE THAT THE TRACKS UTILISE A VARIETY OF RHYTHMIC PATTERNS, EXPLORE UNEARTHLY BUT ATTRACTIUVE SOUNDS AND ARE CAPABLE OF STIRRING STRONG EMOTIONS IN HUMAN LISTENERS.

WE DIRECT YOUR ATTENTION TOWARDS THE LILTING, SOFTLY SPUN MELANCHOLIA OF COMPOSITION 03 (CODENAME "SO DID WE"),, THE FLUID, BEAT-FREE BLISS OF COMPOSITION 05 (CODENAME "THE M SONG"), AND THE UP-TEMPO POSITIVITY OF COMPOSITION 07 (CODENAME "KISS THE GLASS"), WHOSE CHIMING, INTERTWINED MELODIES AND SNAPPY RHYTHMIC ENERGY REMINDED US OF SO-CALLED "INTELLIGENT DANCE MUSIC". WE WERE ASTONISHED BY THE QUALITY AND INTRICACY OF THESE ALIEN CREATIONS AND THOSE WE HAVE NOT DESCRIBED IN DETAIL. IT STRENGTHENS OUR BELIEF THAT "DARLING" IS A LIFEFORM WITH HIGHER INTELLIGENCE AND OTHERWORLDLY MUSICAL ABILITY.

“Stair-X” is the first solo 12" EP from Berlin up-and-comer “Jotel California.” Fusing classic breaks, watery textures and electro tropes in an exciting blend, this none/such release represents a compelling and unique concoction, resulting in a forward-thinking exploration of Electro’s timeless sounds. Three solo tracks, utilizing both machines and voice, are paired and rounded-off with an ethereal, club-ready stomper from Seattle-to-Berlin producer JCow, suggesting that “Stair-X” is a must have for veterans and beginners alike.

Funky, flavorful and percussive deep house from Marco Scozzaro, AKA l’oggetto.

The fourth release on 18437 features Nico Lahs using his NLXLB moniker...

On Dirty Vision he gives us those deep, deep stabs with a proper old-school feel, a blend between Detroit and Chicago, not too far from something Three Chairs would make.

First up we got 'Dazed Dreams', a deep and drowsy Motor City deep house jam. Next up is 'Dirty Vision', a dusty High-tech Jazz cut for the after hours and finally 'Synthetic Wars'.
Nico goes all in and delivers a gritty and intergalactic Techno track.

Label info:
18437 Records is a brand new label by focused on the outer fringes of house and techno.

And so Especial comes to its 30th release. As with the EES010 and EES020 the 12" is given over as a "Sampler EP" of alternate versions, dubs and unreleased cuts that deserve their time in the spotlight. Again featuring a label's who's who, with Fairplay, Paton and Baha appearing, but also new crews in vogue with Roy Of The Ravers back, joined by the esteemed Freeform Five plus a debut from Bal5000. First up, sees the return of Junior Fairplay in the mixing desk hands of the ever kenetic Roy Of The Ravers. After turning in a twisted bleeptastic remix on Junior's recent "Faxes From The Future" EP (EES029), here in the aptly titled Remix 2, Roy strips everything back for a succinct and short stormer. Deeper, dubbier, dirtier, Roy does the acid-tinged bass and kick better than any, snapping those hats to ride.
Next comes another of those Jamie Paton reversions that slowly seep in your brain for days. He's all there and more, taking Freeform Five's digi-only Throwing Stones and with drudge beats, soft keys, drunk-funk pads, snap-claps and 909 kick all underpinning (Ali Love's) dubbed vocals to the haunting refrain only he can find. Another Paton love dub for the more open-minded DJ to melt hearts and minds. On the flip, we are delighted to release on vinyl Kris Baha's now cult retake of those brightest stars, Red Axes. Only previously released by brethren Multi Culti as an digi-only for the Waiting For A Surprise Remixes EP, after many years of cat calls and reminders, here at last for the vinyl heads is this monster drug-thug. Recorded some 3 years back when Baha was a relatively unknown, now a debut LP imminent for dem CockTail's boyz, this is right time for such a club killer to be spun loud and proud. To close, a new "Kids" on the block. Picked up on and then sat on for too long, Bal5000 has since had an acclaimed EP for our Invisible Inc. friends in the north and so it's right to let this pure electro flyer...fly. Coming on like a 6am party lifter, the electro beats nod to Geist and Jesrani, but with it's own funk and vibe that just keeps going higher and higher until the nods are smiles and smiles are skips and shuffles to the beat (the street). After 26 releases in 3 crazy years, last years solo (Paton) release was a nice stop and breath, so where Especial goes next is unknown. With some discoveries now flown the coup and new headz bringing their own new sound, plans are afoot to keep on keeping on and to bring something old and new to the floor...or the door. You choose.

2nd release from the Berlin based label “Overground”

Over the last two years, Percebes sought to upgrade public perception of locally created electronic and urban music by placing it along international producers, in a compilation series of two volumes called Produto Interno Bruto (PIB) - portuguese for “Gross Domestic Product”.

Released digitally (first on the label’s Bandcamp page and later on all online platforms), these showed the outside world not only what Lisbon based artists are about but also how they can fit in a wider picture. The compilations also helped to deconstruct a narrative that isn’t particularly accurate about electronic / dance / urban music made in Lisbon in international circles. In fact, PIB offers an alternative- perhaps more tangible - perspective on who and what you can actually listen to when going out at night in Portugal. Well, at least partly (it was never meant to be a definitive document).

The label was later able to cut a functional collection of tracks compiled from both volumes onto glorious wax... and here we are! Pure portuguese underground talent sided with tracks from our closest friends in the international scene. The double LP collects tracks chosen by myself from volumes I and II of PIB and also adds a little extra by including a bonus vinyl exclusive by Cyclonix. For practical reasons, it was impossible to include all 22 tracks of both volumes on this vinyl, but it’s still possible to appreciate every artist featured by finding the download codes inside and get a full digital PIB pack (with all 22 tracks, plus a bonus release).

We’re doing out part to provide you with a pristine sounding, powerful, useful and varied compilation that you can carry in your record bag for all sorts of situations - and also to fill up your USB sticks, phones and laptops with much more content for a reasonable price.

Knowledge, attitude, freedom of format, and quality over quantity. This is what we are about: Djs, producers and engineers who love great music, more than people obsessed with labelling things!

Waste Edition is back with a new compilation called 429 and once more, 4 new and colorful tracks were carefully chosen by the Andalusian label. The E.P is intentionally made up of four creative and admired artists. Besides and as is becoming the custom, these four diverse tracks are full of catchy melodies, touching arpeggios and powerful beats. Conscientiously, there is harmony between the four artists, Vortice Mortale, Imiafan, Asymetric80 and Undo & Casiowaves and without a doubt this compilation can show anyone no interest in trends and bet on music that the label loves and respects.

MRS x BXL: A tale of two cities, two countries, two label owners... But many, many different vibes. Celebrating both Abstraxion and DC Salas’s individual home cities – Marseilles and Brussels – ‘MRS x BXL’ is a concept so deliciously simple you’ll be surprised that it hasn’t happened before in Biologic’s rich 17 year history.

Re-Release!

Jamaican born and Toronto raised, KG Russell is an unsung journeyman who followed the DIY path with his compelling output. Only a handful of collectors have been aware of the few releases via his private imprint Rain Sound - of which little information is known and copies very seldom seen.

A striking stand-out of Russell’s work comes via his Dance With Me album - a self-produced jewel originally recorded in 1988 with help from friends Tony Cameron and Orville Malcom on session duties. The brilliant blender of synth-soaked soul was released in 1990 on cassette only. Roughly 200 copies were manufactured and personally handed out to local record stores around Toronto.

Crown Ruler returns, plucking out three superior cuts for Last Dance and breathing new life into each via an impressive remastering effort from Melbourne sound wizard Daniel Elleson. Finally pressed to wax, this EP is clearly deservent of the 12” treatment. An island-tipped-electro-come-proto-house string of melters , guaranteed to prick the ears of lovers of the obscure and exotic. Last Dance is full of curious influences. It could be described as Caribbean flavored drum machine r’n’b. From the title track, a hypnotic boogie dancefloor filler, to Talk To Me, an electro rap meets smooth-jazz love jam, and finally Dance With Me, a bent and wasted soul ballad - Russell bares it all in another lost treasure given some TLC and repurposed for today’s DJ leaning ear