House Новости

Syrup House is the follow up to Jilk’s 2022 Castles In Space album, “Haunted Bedrooms”.

Haunted Bedrooms established the Jilk sound with a clash of cascading chamber instruments meeting brittle electronics and experimental noise. Frequently quiet and emotional but also edged with spikes and sharp teeth. On Syrup House, however, the collective dig out a much smoother and sweeter sound. And while ‘expect the unexpected’ should still be your guiding principle, here you can dive deep into luscious droning textures and swelling orchestration which sits alongside the warmth of analogue house and techno.

A series of church based improvisations are reworked into clockwork symphonies of clattering percussion and driving, joyous synth workouts. Vocals are much more present in the Syrup House, as Jilk draws from ethereal dream pop motifs while deconstructing traditional song structures into warm blankets of cloudy dynamics.

Syrup House follows a loose narrative about a magic-realist night club that appears and disappears at will. Inside, a labyrinthine interior contains corridors of ecstatic love and self realisation. Ultimately, during testing times, it is compassion that will prevail and Syrup House is where that compassion goes to dance away the blues.

Jilk are a UK based collective of musicians, fusing a bewildering collage of home-found sounds with the ambient soundscapes of washy synths, exquisite strings, insect-like clicks and cuts, and huge gorgeous waves of all encompassing experimental noise. Collaboration and open minded exploration are at the centre of all that they do.

On this album Jilk were: Cags Diep, Paul Eadie, Neil Gay, Jon Gibson, Nuala Honan, Emma Hooper, Andreas Laudwein, Kayla Painter, Beth Porter and Jon Worsley.

Syrup house was mastered by Shawn Joseph at Optimum Studios, Bristol.

Pals FM: Floor Materials Vol.2 is the second dance music compilation from WALLS AND PALS. The aim is to share various ideas of dance floors instead of lingering on a certain genre or style, and while being DJ Friendly, it also serves as an exchange ground where production techniques of artists co-exist. All four tracks in Vol.2 correspond with the common purpose of bringing out ‘Floor Materials’, keeping distinct identity from each musician. In ‘Cofrica’, rapper and producer Simo of Y2K92 injects his long-time affection of Detroit flavor into a minimalistic form. Conversely, DOTT from the Thai label More Rice brings intricate and complex rhythms centered around the step sequencer in ‘Antibody Movement’, walking a fine line between House and Techno while the essence of Tech House is preserved . And in ‘Pump It Up’, ACIDWORK demonstrates what the outcome would be when Electro runs through digital instruments and samplers. Last but not least, Seo John, who put out his first EP DIVE last year from the label GODDEZZ, follows up with ‘miQro’, creating a different side of Trance that is more adequate for clubs or concrete spaces rather than outdoor raves or festivals. In the same manner with the preceding release Pals FM: Floor Materials Vol.1, Vol.2 is a compilation executed by fellow Asian musicians across the region. Beyond the reopened borders, and just like the excitement and stimulus at unusual events, this compilation serves to contribute to the dancefloor as an interesting ‘Material’ than simply as a ‘Tool’.

Ability for the impossible.

Ukrainian folk instruments dissolve into abstract psychoactive sounds from the improvisational universe. The meditative engine of multi-instrumental music drives the magical means of influencing perception. This is the sonic amulet, which is decorated with radiant tones and the colorful ceremonial musical outline. Mythological music is spirited by epic historical times and ideas of freedom, dignity, and bravery. The acquired knowledge of ancient generations is infused into the present tense and crystallized into the art of liberation.

Transform pain into gratitude, fear into love, rage into action, self-importance into empathy, fatigue into inner peace, anxiety into courage, and hatred into strength. Say "no" to darkness and direct the light on it, disagree to compromise with yourself, create on the destroyed, free yourself from stipulations, believe in wonders, burn and resurrect free. Always remember your own path to walk. And plant the blossoming cherry tree in the funnel from the bomb on the heart.

Dedicated to free Ukraine.

After a break of some 10 years producer and DJ Mat Carter felt the time was right to wake his imprint from hyper sleep.

It was started as and will continue to be an outlet for both Mat’s own material and that of other like-minded beings and as the name Varial suggests the label is not limited, instead it reflects Mat’s tastes and touches on many styles.

Varial launches with the remaster and re-release of the much sought after cult classic, Zark Time E.P. Written and produced by Mat himself, this E.P. pulls on influences of fractured imagery, fuzzyelectronics and dense soundscapes to form five tracks of warm, funk-fuelled jams that 17 years on still refuses to neatly conform with any one genre. As Mat himself says, “I can’t help my influences.”

During his time away from the music scene Mat’s focus was on raising a family and honing a physical craft but the pull of music never went away.

Sound Synthesis with a new 4 track EP of the finest acidic electro! A great follow up to the label's first release from Cignol. Hand stamped limited copies.

NYC's Disco powerhouse West End Records should need no intro. The home of too-numerous-to-list club classics for over 30+ years is still impacting today on what we know to be club culture. The label started by one Mel Cheren (RIP) with assistance from Larry Levan and more way back in 1976 is still held in such high regard today with it's catalogue constantly being played, rediscovered, reinterpreted and loved by waves and waves of new fans and admirers. One such admirer is one of the UK's longest serving DJ's and editors, a truly legendary Northern selector who's unique reel to reel DJ sets and reworks has gained him fans worldwide and continues to do so. Ladies and gentlemen, we give you Greg Wilson's West End versions, 4 tracks of unparalleled funk touched by the man himself who has also kindly supplied some choice words about this special release:

"West End has a particular place in my heart. Along with Prelude, it was my main go-to label during the early '80s, an underground New York powerhouse issuing a relentless run of now classic and cult-classic club cuts during the time I was DJing at Legend in Manchester. For me personally, the label is forever connected with this then futuristic venue, West End's progressive approach to dance music, incorporating electronic elements to play a key role in ushering in the Electro-Funk era, finding its perfect environment at Legend, with tracks by Stone, and especially the Peech Boys' hugely influential 'Don't Make Me Wait', providing major stepping stones. This is a project that holds a deeper resonance for me, given my personal relationship with the label, and I'm so happy to contribute the series; the 4 favourites tracks I selected for this release illustrating West End's best qualities - serious grooves and soulful vocals.

The edit of 'You Can't Take Your Cake And Eat It Too' by B.T. (Brenda Taylor) was originally featured on my first Credit To The Edit compilation, back in 2005, whilst Raw Silk's 'Do It To The Music' was also edited around the same period, but has never been made available until now. 'Keep On Dubbin'' by Forrrce, although not as big as the other inclusions at the time, was an ahead of its time hybrid, mixed by Francois Kevorkian, whose dub awakening had taken place the previous year, and Shirley Lites 'Heat You Up (Melt You Down)', which draws from the instrumental 'Melt Down Mix', the version of choice at Legend, where dub and instrumental mixes often trumped the main vocal versions"

A truly golden era of dance music history, all killer - no filler! All tracks featured re-edited by Greg Wilson and re-mastered, re-pressed and re-released with the permission of and in conjunction with West End Records, New York City / BMG. '

Vinyl Only. Limited

When referring to Scape One, it's obligatory to recognize that his work is wholeheartedly visionary.

Ominous bass lines, warped bleeps, and hiccup like high hats combined with perfectly harmonized chords and melodies form a groundbreaking type of electro sound very atypical to the trends.

Believe In Records as a division of MixCult Records features second release with an experimental assertion full of retro influences coalesced with the sounds of the future, seemingly responding to one another's frequencies in perfect congruence.

The high demanding collectors cannot miss this release.

Reuniting on record for the first time since 2015, The Rhythm Odyssey & Dr. Dunks arrive on Phantasy with a double-barrel delivery of legitimate weirdo disco, ‘El Cid’. Comprising of Chicken Lips’ own Dean Meredith and crate-digging DJ extraordinaire, Eric Duncan, both tracks come complete with additional playing from

Andy Meecham, AKA, The Emperor Machine. Initially rolling like an eighties-era cop show theme, ‘El Cid’ gradually prises open a wormhole of rubbery machine funk, unleashing an electromagnetic weapon that seemingly triggers each and every drum machine and synth in the duo's respective studios. The resulting jam, comprising patches of wonky key work, frenetic
percussion and an anything-goes approach to FX, is a nail-biting, hip-shaking showdown between collaborative chaos and dancefloor (dis)order.

In response, the hide of ‘Fast Leather Jacket’ arrives stitched with a parallel patchwork of sonic pleasures. Cosmic and tropical in even measure, this is hard-wearing club apparel tailored with a deliciously catchy melody and guaranteed protection from musical tedium, subtly shapeshifting from is-it-balearic charms to a delightfully mixable freestyle conclusion.

Momentaufnahmen is a new label run by German DJ/Producer Pascal Stürmer. The first release, a debut under the new moniker 'Active Nature', sets the tone for the upcoming releases with 4 tracks of deep and reduced techno.

Colin Chiddle’s Art of Dark releases its 12th EP. British producer Bufobufo gives his 1st release to the label.

Michelle debut on Cabaret Recordings.

The label boss Nicolas Lutz teamed up with Tunik. Superb remix by Barnt included.

Z@P returns to Cabaret Recordings for 28th release.

From the label SEQUALOG run by TC80. Its 8th release by Chinese Artist B.AI.

Hambourg’s electro duo Fallbeil composed by Wosto and Kluentah, is still pretty unknown despite they’ve been releasing a bunch of EP and a couple of LP on label like Mannequin, Killekill sub-label Boidae or New York Haunted and more recently on their own label Teerpappe to name a few. Wosto, long time Macadam Mambo’s collaborater (Danzas Electricas vol. 2 & 3), sent us demos of what sounds very like « what Drexciya would realease on Bunker Records », a compilation of irresistible dark atmospheres slow electro tunes with very raw textures, complemented by few little skits to generate a brilliant album around the story of the Mockturtle. It’s rought as it should be ! And ! Little TIP for gabber’s heads dj, some tracks can be played in 45rpm check « No Go Area » and « Rackelhahn » it makes it worth

After an international tour of over 100 dates, French 79 is ready to unveil his third album entitled TEENAGERS. This opus gives us such unique and strong sensations, partly because the synths were recorded at Jean-Michel Jarre's studio in Paris and the tracks were mixed and mastered by Damien Quintard a Miraval studios.

TEENAGERS alternates between signature songs like the masterful opening song, as well as unsuspected romantic and nostalgic songs, epic and flamboyant tracks, tracks with liberating harmonies, sensational electronic swirls, pop gems ("You Always Say" feat. Prudence, the singer of The Dø) and sumptuous introspective tracks ("Walking on Mars"). Not only does this opus reflect his wide range of talents as a songwriter and producer, but also it definitely takes us on a very powerful sensorial and introspective journey.

Native Mexican Leo Leal debuting an 8 LP tracker on Binh’s imprint Time Passages! Exploring a dark fractal sound!

Local Talk is back again with a fantastic album from Soulphiction who gets deep, down and dirty with this bumping selection of timeless house tracks across 3 pieces of beautifully packaged vinyl...

Dusty grooves and soulful emotion form the foundation of this release, which also takes influence from Jazz, Hip Hop and Afrobeat.

Soulphiction aka Michel Baumann is one of Germany's most respected artists who is also known under the equally successful and iconic alias Jackmate.
This is the third time Soulphiction has featured on Local Talk including his recent single "Beehive". Other labels to have featured Soulphiction tracks and remixes include Lumberjacks in Hell, Rebirth, Pampa and Philpot Records.

A master of both mood and texture, this release showcases the studio wizardry of a true sound-smith.
Chunky percussion with shuffling rhythms form the backbone of the grooves, which are fleshed out with intricate melodies and funky basslines that move mind, body and soul.

Like the tracklist of a J Dilla mixtape, this album flows with a purposeful care combined with a storytelling blend of emotions rarely heard in a house music long player.

Executed to perfect precision, this album is an instant classic and a must-have for home listening along with a club setting.

‘Flashmob’ is the second studio album by French electronic music
artist Vitalic. 2022 sees a reissue of this seminal record on white
vinyl. While the electro foundations of his sound remain the same
after more than a decade, these tracks are sleek and innovative -
proving that Vitalic spent the years between his debut, ‘OK
Cowboy’, and this album uniting everything he’d learned from
making electrifying dance tracks since 2005. ‘Flashmob’ provides
cuts that are classic Vitalic, with massive synth lines and hardedged beats.

Egyptian Lover's first record since 1994..... Solid electro dancefloor tracks like no other. Still rocking and still making the ladies shake their hot pants! BIG TIP!!...

Glasgow’s Seated Records return with more archival Scottish New Wave material; this time, in the form of Pop Wallpaper’s disco-not-disco interpretation of the Shuggie Otis classic, “Strawberry Letter 23”. And interpretation is the right word, guitarist Evan Henderson confesses that the lyrics sang by Audrey Redpath on the record were, “err inaccurate due to pre-internet home recording translation”.

The Edinburgh band first released “Strawberry Letter 23” in 1986 as a double A side 12” alongside original song, “Nothing Can Call Me Back". The 1986 record’s sleeve states that the original - “Strawberry Letter 23" has been “re-modelled for special pleasures, namely on the dance floor”. Here the re-model has been re-modelled once more. The track is recontextualised for 2022 playing on a four track 12” that includes an unreleased instrumental demo version of the track, as well as mixes from label founder Pigeon Steve and close friend of the label, Useful Tom.

Wallpaper’s first EP “Over Your Shoulder” was released in 1984. The release received a considerable amount of radio support, not least from Radio 1’s John Peel and Janice Long, which culminated with a live session for Long’s show at the BBC’s studios in London. Released a couple of years later, Strawberry Letter received similar levels of radio play. Despite (much to the band’s confusion) being tracked by Motown UK at one point, Pop Wallpaper did not go on to receive commercial success and eventually went their separate ways.

“Strawberry Letter 23” sits in the singular historical, cultural context of mid-80s Britain. Following the explosion of punk at the end of the 1970s, in the 1980s many British bands began experimenting with new styles and instruments - always keeping an eye firmly on their punk roots. The loose percussion and synthesiser melodies have an almost new-age, balearic mood, while the falsetto vocals of singer Audrey Redpath are an unmistakable embodiment the Post-punk style of the time. The prominent bass-line suggests a reggae or disco inspiration, and bass player Myles Raymond admits that he obsessed over a Sly & Robbie Taxi records compilation around the time the band put the tune together.

This reissue includes an unreleased, unheard instrumental demo-version of the cover, “SL23”. The band recorded the demo during an nighter at Wilf’s Planet studios in Edinburgh, just after Wet Wet Wet had just finished up their own demo for “Wishing I Was Lucky” (Pop Wallpaper all insist they thought it would never be a hit). In this version, we hear the band messing around with drum machines and synths which, in a similar style to Kevin Low and Fiona Carlin on Seated 001, creates a stripped back dance floor work-out that bares almost no resemblance to any version of “Strawberry Letter 23”. In an attempt to emulate the Trevor Horne production style of the time, the band’s drummer Les Cook recalls pushing for more and more reverb on the drums during the session to a reluctant producer Chic Medley, who “eventually obliged, but needed a lot of persuading”. Much to Cook’s disappointment “the reverb was toned down when we got to the final release”.

On the B side, label boss Pigeon Steve delivers a dubbed-out and acid drenched, cosmic rendition of the track with “SL24”, before Useful Tom (son of Pop Wallpaper bass player Myles Raymond) brings the EP to an end with spacey de-construction of fractured vocals and gliding synths on the B2 with “SL25”.

COMES WITH A HUGE FOLD OUT POSTER, INSERT, AND DL CODE

L.I.E.S. Records founder, Ron Morelli, makes a rare appearance on his own label with his eagerly anticipated double lp, "HEART STOPPER". (LIES-200)

Heart Stopper is undoubtedly the "dance" record that reaches back to the early days of his L.I.E.S. Records label where artists such as Delroy Edwards, Steve Summers, Traxx, and Svengalisghost all came together digging into the primitive, foundational sounds of original Chicago, New York, and Detroit House music putting it through a contemporary lens.

Recorded between 2019-2022, this lp is the culmination of many years of Morelli honing his craft, from digging and studying old records, to focusing and sharpening his production techniques, the L.I.E.S. boss has delivered an album that is a testament of his true love and obsession of the genre, with "Heart Stopper" being the record to cement the now iconic L.I.E.S. legacy even further.

In the often shapeshifting world of modern dance music, "Heart Stopper" is what a House record should be. Full of passion and unfiltered emotion, uplifting at moments, pensive at others; with raw, jakin' drum programming, big basslines, and anthemic synths driving the release throughout.

Over the 11 tracks we hear the depth of the production hitting all ends of the House music spectrum from WBMX style beat tracks (Just Another Old Beat Track, Tricks of the Trade), to seemingly lost Music Box tapes (House Music Revenge), to 89' style 727 anthem (Heart Stopper), or the piano driven, introspective "Time Stands Still". "Heart Stopper" is an all encompassing record in its scope and sure to appeal to true fans (and djs) of the genre.

Here we have Morelli's definitive dance music statement to date in "Heart Stopper." It is the modern interpretation of what came before and what the artist and L.I.E.S. dedicate themselves to- carefully crafted music that firmly places their signature in the present, past and future days of dance music.

Suffice to say, there couldn't be a more vital time than now for raw, heartfelt music such as this to be reintroduced into a confused and fractured dance music scene.

Hypercolour backroom boy, Ste Roberts, surfaces to the top for a long-awaited new release on the label, serving up a trio of wonky and twisted grooves on ‘The Crescent’ EP.

Paris based Vitess dons his Vytamin alias for 4 tracks for sub-aquatic deep-breakbeat-house for UTTU - backed with a Nemo Vachez remix. Tip!”

Detroit's Filthiest’s first appearance on Deep & Roll imprint is probably his wettest EP so far.

The 4-track 12’’ starts with the banger « Deep Penetration » - a dancefloor killer with a unique vibe that will make you bounce dat ass. « Dnb Spacedrift » continues this smooth journey in the space brothel until you flip the script with « Midnight Special » - another sexy but more funky jam. And if you’re still thirsty « Soul Brotha #1» will definitely get you third base with the humanoid creature that just caught your eye.

"CAPTAIN MUSTACHE" DJ and producer with some fifteen years
as a label manager, he arrives on 'Bordello A Parigi' with a unique blend of electro spiked disco. The Parisian lands with a four tracker guaranteed to leave bodies and speakers aching with joy.

Teaming up with Paul Play on vocals, “Special Friend” is a purely nocturnal affair. Smokey words sail above crisp percussion as laser beam synthlines lance a haze of early morning light. “Rhythm 55” is built on bold beats, the Captain slowly unfurling a sparkling melody that glimmers and shines next to burbling acid-tinged bass.

A generous introduction gives way to toms and snipping snares for “Jean-Michel”, a beautiful tribute to synthesizer master Jean-Michel Jarre. Bright and clean, the track is steeped in a future-gazing optimism that palpably echoes through its vocoder. “Space Jowblob” brings our odyssey with Captain Mustache to a close, astral chords and beaming bars washed in starlight.

During the eighties it was possible to observe an Italian fascination with the mysterious Far East. This can be found across art, design and music in Italy during this time, in subtle or obvious ways. Specifically there are Italo-disco records that proudly show this influence, some of the best known being: Fun Fun Living In Japan, Koto Chinese Revenge and City-O' Rose of Tokyo.Following in this theme is Fancy Null Null. Not to be confused with the famous Euro-disco artist behind Slice me Nice, this 'Fancy' is a one-off project from Italo-disco icon Raffaele Fiume, the artist and voice behind many great Italo-disco hits, such as: Helicon You See, Malcom & the Bad Girls Shoot Me and Ralph River Band Strange Vibration.Adding to the original tracks of the 1982 release is a totally ecstatic and powerful remix from Betonkust: one of the most talented and exciting Dutch producers of recent years. Also included is an instrumental edit from Hysteric, for those who find the unique vocals challenging.

Written in this drunk, sleepless night.
Worshipping of the winds from the east.
A yearning, a whisper from the past.
A feeling at times forgotten, called back when the wind is heard.

Budapest, a synonym for the love of the inner city blues, the rubbish in the gutter, the beauty in the murky corners.
A thought that crept up on me in a second, a part of my journey.

Including 3 remixes from the lovely WAREIKA, Kalabrese and Mushrooms Project

2023 Blue Vinyl Repress


The collectable Artifact imprint is taking a detour from incendiary and obscure disco re-issues into releasing even more obscure material. Mysterious Italian electro-wave band Cristalli Liquidi are featured here with a killer rare italo gem produced by Tinto B. (also known for Robots Are Un-American, re-released on Italians Do It Better last year). Inspired by a LCD Soundsystem song Tinto B. comes with some of the best Italo disco we've heard in a while! We cant find the connection to the LCD Soundsystem track that supposed to have been his source of inspiration, and actually we dont care... its some of the best recent Italo disco we've heard in a while! If you are big on italo vocals the A side is for you, if instead you dig deep electro disco but without the chanting, the dub version on the flipside will more than certainly send you into italo space. Another hot Artifact release from mr. Bottin. Tip! (Limited supplies!)

Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014's Hello World immersed him in the heart of Vancouver's underground dance scene, and sometimes it follows, like 2018's Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project's fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Ed- monton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft _ the tone, pacing, and dynamism of new material _ arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin's dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he's never sounded better doing it. The album title borrows from the "release spirit" mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go- around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds _ including the classic Casio SK-1 presets he's used since the start _ mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. "I think it's my best sounding record to date." We begin on "HV Road" or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia's Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin's most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of "Lovely," a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of "3 pz" offer a cosmic/comic interlude and also speak to reflections on his family's move to Canada two generations ago, and the audio tutorials they used to learn English. "I can only imagine my grandpar- ents repeating some of the bizarre phrases." "Fountain, Growth" finds Khotin in collaboration with Montreal's Tess Roby (Dawn to Dawn) for the project's first-ever vocal track. Roby's soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of "Life Mask" and seamlessly reaching "Unlimited <3." The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of "Techno Creep," a hyperactive REM state before the digitized ambient sprawl of "My Same Size." In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded "Sound Gathering Trip" to soundtrack a genre of YouTube videos he's taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin's project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

The label is back with a new record from Koova (head of London Modular Alliance) and MSRG, who was involved in the label's last release.

This record is the result of quality work with synthesizers, modulars and drum machines. The music reflects the highest level of artists and the ability to work in a multi-genre format.

Each track is unique and touches on different subgenres of electronic music from IDM to electro.

Fullcover sleeve designed by AJAM.

For their second installment, the Chateau Chepere crew brings on board legendary producer Stephan Laubner under his STL moniker, with four time warping pieces of music. With his distinctive and intricate sonic palette, Laubner extracts from his hardware different musical colors and shapes to produce singular atmospheres. Opening up the EP is Fly Fly, an epic 11 min minimal house trip full of tension and excitement, followed by Eargrind, an eerie, laid back Detroit leaning ballad. On the flip is Light Up, a spaced out, playful and bittersweet number that will revitalize any hazy after-hours dancefloor. Closing up the EP is Unlike Dislike, a quirky, jacking and mischievous techno workout for the packed club. This diverse ep will pull the listeners and dancers into Laubner's multifaceted, low key but captivating universe.

Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.

The inaugural vinyl debut by Hunter Thompson aka Akasha System’s shadow self, DJ Panthr, is an 8- track technoid night ride inspired by the fern-shrouded neon streets of South Tabor, Portland, where the album was conceived and created: enter the Jade District. Simmering and serpentine, the songs slipstream from lithe to liquid to narcotic, traced in acid, dub, and deep house fog. It’s dance music as both reverie and nocturne, overcast and underground, the perpetual motion of mossy neighborhoods passing in the dark, streetlights smeared by rain.

Thompson speaks of the “desolate peace” of sleepless dawn walks through Southeast Portland, tall trees silhouetted against glowing strip malls. The synthetic and natural worlds fused in greenery and concrete. Jade District feels both immediate and introspective, club tracks for midnight minds, born of distance, dreams, and things unsaid.

Antwerp synthesist David Edren describes his latest solo collection in conceptual terms: a harmony of space and time, elements and environments, perception and impermanence. Conceived in the morass of 2020, he began envisioning a widescreen suite of electronic compositions connected to the hidden rhythms of what surrounds and affects us.

The 12 tracks of Relativiteit Van de Omgeving trace a chain of miniature terrariums, from misty meadows and moonlit gardens to cosmic vistas of asteroid showers. It’s music both subtle and symphonic, attuned to the sweeping planetary clockwork of water and wind, birds and insects, seeds scattered in soil forever being reborn: “skating the thin ice of ideas, like a heroic water strider.”

RAWAX proudly welcomes Mr. Lamont Norwood aka Dj Di'jital to the family! A true pioneer from Detroit!

Truly an old school Techno Bass jewel, DJ Di'jital has been a key player in the development of what some call the "Second Generation" of Detroit Techno. Having released on classic Detroit labels like Metroplex, Direct Beat, and Twilight 76, there is plenty of good reason why his name and his work have become so legendary over the years.

Influenced by early groups like Kraftwerk and Parliament, it was no surprise that the 80's fusion of Electronic Music, Funk and Hip Hop that brought about the Electro Funk sounds, would have such an impact on him. As a kid, Lamont Norwood aka DJ Di'jital became acquainted with the idea of mixing two songs together using tape decks, which while being limited, still gave him the drive and passion to pursue a career as a professional DJ. Over the years he played many different house parties and underground clubs, even spending some time as a Cabaret DJ.

Throughout this time, Di'jital became an incredibly skilled turntablist, quickly gaining the reputation of being a formidable force behind the wheels of steel. The year 1996 would prove to be quite a momentous one for Norwood, not only signing to the already well established label Direct Beat, but also becoming the official DJ for one of the label's finest and most important artists, Aux 88. Having already released his first EP, "Prototype", on Direct Beat, this would become a great opportunity that would help seal him as an icon of what was now known as the Detroit Techno Bass scene. Over the next few years,

Di'jital continued recording for Direct Beat, releasing some of the greatest and most unique Techno Bass classics to date, even doing a few remixes for some of Aux 88's most well known releases like "Electro/Techno", "I Need To Freak", and "Break It Down". Hit EPs like "From The Mind Of The Master", and "360 Degrees" became instant classics, still very sought after to this day. He also had some of his songs appear on some of the various Direct Beat compilations that were released between the years 1996 and 1999 like "Xperience De Bass II", which released "Radar2Bass", one of his most notable works, as well as the all time collector's album, "Techno Bass: The Mission".
Perhaps what may have been one of the biggest signs that his career was becoming exactly what he had hoped for, was the opportunity presented to him to remix Aaron Carl's classic "Down", which was released on the iconic Metroplex Records in 1998; Something that to any Detroit native would have been an honor and a milestone, given the reputation and level of success and influence that Juan Atkin's imprint had on the Detroit Electronic Music scene, as well as the global Electro/Techno movement.

Between the years 2000 and 2002, there was a small hiatus in complete EPs or albums being released by DJ Di'jital, although there were 2 different tracks released on the labels Bipolar and Studio iK7. In 2002, he went on to sign to another of Detroit's legendary imprints, Twilight 76, where he released 2 EPs, "Bass Programmers", and Di'jital's Revenge". In 2005, already a veteran and having amassed the necessary skill and knowledge needed to be a true beat warrior, Di'jital was now ready to join the resistance...Underground Resistance that is! Featured on the Interstellar Fugitives Vol. 2 compilation ( also later released as a 2xCD/DVD set ), Di'jital also released on the Electrocuter EP, which featured the previously released "Bang", as well as "Track 19".

In 2006, already well into the digital age ( no pun intended ), Norwood would release his first set of downloadable works, starting with an album called "The Prototype", on Twilight 76, which was completely unrelated to his first EP which was also called "Prototype". Recently, Twilight 76 has also released what is so far a 2 volume set of battle cuts dubbed "Electro Battle Tools".

The only known material that is known to be in the future for DJ Di'jital at the moment is a remix of Morphogenetic's "Techno Bass Is Back!", which was originally released as a free download to members of Technobass, but will soon be released on a 12"/Digital release that will launch the site's own label "Techno Bass Music". There will also be a follow EP by Di'jital, so stay tuned! Over the years, DJ Di'jital has proven to be an unstoppable force in the Techno Bass scene, tirelessly working to push the boundaries of Electro forward with his futuristic and visionary beats that have unleashed mayhem across the globe, not just in his published works, but also in his incredible DJ acts, where one can truly witness one of the few actual turntablists in this style of music. Expect more in the future as Di'jital's revenge continues to spread across the globe with his out of the ordinary approach towards Techno Bass music.

Another disastrous POPPERS attempt at making people feel like dancing, this time featuring a promo release for DJ Tranquilos - a completely unknown "artist", never booked before DJ, virgin territory for bookers. Guaranteed to offer anything but tranquility to the listener. French vocal epic HiNRG pop cover and Soca dancefloor bulldozer on the A side. Heavy percussive acoustic drums with extraterrestrial synths and a sound effects DJ tool on the B side. Mastered for maximum dancefloor impact - only for true Peak Time DJs.

Back in stock!

We say it’s better to dance on a full stomach. That’s why Snaretrade kicks it’s music-label existence off with a wholesome recipe for a vegetarian pasta. Inspired by, but definitely not an authentic pasta alla carbonara. After that, we use some familiar dance tropes in an attempt to nudge you and your full tummy to the floor. Further Instructions was made after downloading a 5 euro Rhodes sample pack, and Beekkant is named after a Molenbeek Metro station. We’ll let you decide in which musical genre they belong.

Glass Coat is a solo project from a Parisian producer who has been living abroad for more than ten years, in Copenhagen, Atlanta, Seattle, Taipei, and presently Shanghai. Inspired initially by 90’s electronic giants from the Warp label (Apex twin, Autechre) and the trip hop school of Bristol as well as Scandinavian electro-pop from The Knife to Djuna Barnes and Royksopp, the project has taken a new direction over the course of the last two EPs, inspired now by experimental and drone music. The new sound is based on static, pieces of found sounds and digital glitches processed through analog equipment. The name of this sophomore EP, « Ghostlines » refers to the ghost culture in Taiwan (the EP was recorded between Paris and Taipei) as well as ghost notes, and the ghost lines, i.e. lines that a writer will not fully complete in an unfinished text. The EP is also inspired by environmental disaster and the weight human presence has exercised on our common planet. The works of JG Ballard (particularly « The drought ») have been an inspiration for this record. The cover photography is by Taiwanese artist Yehlin LEE, from his book « Raw Soul », published by the Japanese publisher akaa-sha.

The duo HER ABSCENCE FILL THE WORLD is the new sensation in Berlinese synthwave scene. Their genre classical song structures with a modern twist capture and transport immediately to the likes of successful past releases of Oráculo Records like Boy Harsher, Ultra Sunn, Synths Versus Me or NNHMN. Their debut EP include four songs already relased by Detriti Records in cassette tape format and two new songs previously unreleased plus one remix by techno master KOR. Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

(Oraculo Records - OR109)

Two ex-Yugo cuts reconstructed for the dance floor by the maestro Ichisan!

Leon’s Futura imprint returns with is 4th outing and the burgeoning label delivers another edgy underground EP this time courtesy of Roof Club, Italy resident LUCIO.

LUCIO has been providing the Banda Sonora at Roof Club in Isernia, Italy as its highly regarded resident for the last 4 years, and has released on YAY recordings whilst also founding Roof Club Record label back in 2019. LUCIO joins FUTURA and delivers a slick 2 track EP which also comes complete with two remixes, one from Mark Ambrose and MADVILLA.

The first track on the release is Panic Zone. Eerie synths lead the way and combine well with the well executed 909 beats and classy old school synths give this a distinct flavour which is perfect for heads.
The second track on the release is Mystic Area. From the very first second this sounds like it comes straight from the 90’s and something you’d hear back in the day at the Warehouse in Chicago. The smooth old school synth chords combine with well worked vocal samples and electronic bassline and 909 beats deliver a sure fire underground winner.

Next up are the remixes and the first remix comes from Mark Ambrose. The Crayon label boss and owner has been producing forward thinking and abstract Tech House for 20 years, releasing not only on his own imprint but also on prestigious labels such as Bass Culture, Vessel, Subwax, and Wiggle. For this remix of Panic Zone, he takes the track on a dark raw techno trip with heavy outboard processing and dark coloured synths and delicately delayed beats and percussion, making this an essential late night excursion.

Last yet not least, MADVILLA, fresh from high flying releases on Locus, No Art, Ball Park and Seven Dials, MADVILLA is riding the crest of the proverbial wave with his productions right now, and turns in a grooving minimal deep remix, using some delay and decayed production techniques on the vocals he creates an sublime cut to finish off this release to perfection.

Manchester based producers Tom Jarmey and Ed Hodge
team up as ‘Mother Of Pearls’ to make an electro/breakbeat 4-
tracker for R.A.N.D. Muzik Recordings

The mysterious Withhold label with a very strong album compilation feat. 13 tracks from different unknown artists. Limited pressing of 300 copies and no repress..

Kostantyn Isaev the man behind the project Volta Cab and also Rambal Cochet is now part of the Waste Editions family. The St. Petesburg’s colorful artist has just recorded 6 catchy and powerful tunes which are heavily influenced by the new wave/post punk music of the late 80’s , especially by bands like Кино (Kino) and the Soviet space disco as well.

Repress!

The new era of Nu Groove continues to release exquisite house music with its latest package from Acid Jerks, maintaining the gold-standard level of production exhibited in its earliest releases. An anonymous project from two of Berlin’s hottest selectors, this four-track EP demonstrates a breadth and depth of house knowledge, as Acid Jerks take the listener on a cosmic trip. The deep grooves of ‘Chocolate Factory’ kick off the package, followed by the more melodic and emotive ‘Remote Area’ with lush strings and keys. ‘Square One’ has a raw, synth-heavy sound that verges on the ominous, before the tough low end and analogue muscle of ‘The Tribute’ gives added grit to the package.

"The diversity of the phenomena of nature is so great, and the treasures hidden in the heavens so rich, precisely in order that the human mind shall never be lacking in fresh nourishment" - Kepler

Kicking off this two tracker we have ‘Automatic Reply’. A driving jam incorporating elements of acid, progressive & Italo House for a heady, versatile weapon. The flip side treats us to ‘OOO’. A creeping, sample-heavy, acid-laden burner with a rock-steady groove - ideal for any record bag

Next on the agenda for the Orbital London label is a tasty four tracker from label boss man, Jack Michael and bass specialist, Inner Zone. The Drenched Volume EP is made up of one original and one remix from the accomplished producers, ravey breaks and garage energy with a modern day punch.

Jack’s “Volume” track boots off the EP in true Orbital style, distinctive broken drums, a warm winding bassline and trippy pads and synths all working together to make this a d floor destroyer in the coming months. Inner Zone’s “Volume” remix follows on the A side, pitched up and high energy from the get go and maintains a raw and in your face liveliness throughout.

On the flip Inner Zone lays down their original “Rainforest Sound” aptly named from the killer vocal sample they’ve used throughout. This one is cut directly for the moodier occasions bringing a deep and mysterious flavour to the dance floor. Rounding off the EP is Jack’s remix of “Rainforest Sound”, another enormous sound from the English talent, rough and ready with choppy drum work.

Orbital continuing to propel their UK sound loud and proud with this one!

Straight from the melting pot of Berlin, Luca Musto serves up a solid and fresh house dish in his first album on Moodfamily.

The songs stretch the imagination and touch the borders of hip hop and electronic beats. He intertwines his own musical journey with the sounds of his hometown. It is also the attempt at a new genre by blending hip hop elements with electronic music to create something unique.

This funky fusion expresses itself in three original tracks. “What We Witness” introduces us into the rhythmic exploration of the record. It adds some spicy P-Funk vibes and blurs your senses with drowsy horns, served on a velvet platter. "Toledo" - the first single of the EP - gives a thrilling continuation to the EP. This one is sure to cause a ruckus on the dance floor. Finally, “Keep Rollin” further defines the genre-blending character of this project, and gives a slight nod to the West coast of the US.


Xinobi (Lisbon, Portugal / Discotexas) and Mosley Jr. (Gent, Belgium / Moodfamily) deliver some exciting remixes to the EP, both with their unique signature spin.

- “This shit’s gonna break the rules.



Early support from Support Super Flu, Audiofly, Acid Pauli, Florian Rietze, Maxim Lany, Be Svendsen, Maga, Iorie, Stavroz, Paco Osuna, …

Join the Nebulae Crew on another intergalactic trip through the Cosmos. Current destination: E0102, the remnant of a supernova that exploded in the Small Magellanic Cloud, a neighbouring galaxy of the Milky Way, around 190000 light years from Earth.

repress !

M.E.R. proudly presents MER007 : Santiago Uribe - The Death of Cool EP.

Santiago is back to his collective’s label catalog with a dancefloor-oriented production crafted with his characteristic clean and neat sound.

Side A fills with two techno tracks. A1 stands out for its playful acid basslines and a classic drumming groove. A2 highlights with bright and sharp drum plates, round fat bass and smooth synths : a proper dancefloor piece.

For B side Santiago presents two tracks: B1 full of deep and grooving sound with an effective interaction between drumming elements. Closing the EP, B2 features a down-to-earth sound landscape, resembling a sort of ritual music that builds up a sticky, dark and hypnotic atmosphere.

Canadian producer Hrdvsion makes his debut on Posthuman's I Love Acid imprint, with 4 tracks of wonky & off-kilter acid for playing loud and dancing to.

100 copies only

Rhythm Nation is back on vinyl, with a master of the deeper side of UK house and Detroit-inflected techno, Jayson Wynters.

Following up his 'Exit Wound' digital-only release of last year, which also featured remixes from Phantasy Sound's James Welsh, Jayson drops two brand new tracks as well as a physical pressing of those two originals from the previous release.

'War Heads' is a true late-night wormhole of a track, embarking on a journey of percussion and atmosphere, leading inexorably to the emergence of the warmest pads and the deepest bass.

'Bandwidth' flips the switch to a fresh take on classic electro, maintaining the signature Hayson Wynters sound of drum machines and classic synths that seem to hit just slightly left of where the listener expects.

Orginally released digitally in 2022, 'Exit Wound' and 'Lost City' offer a similar contrast - the former is a bassline-driven peak-time stomper, while the latter takes things deep into real electro with an infectious groove and evergreen textures.

Rhythm Nation is part of the Hotflush Recordings label group, curated by Paul Rose aka Scuba, celebrating 20 years in 2023.

Tom Carruthers' Non Stop Rhythm label really doesn't..STOP! This firing 4 track compilation 12" brings together three top drawer 90s productions+Tom slips one of his own tunes in the mix for good measure. A unique approach from this energetic label that's really working for us down here. TIP!

Gallegos is one of my all time favourite producers. Absolutely no question. He has a completely unique sound that to me sounds like it comes partly from his incredible sample digging as well as his one of a kind drum sampling. It’s hard to say for sure what it is but all I know is that I can hear one of this tracks from a mile out. There is an incredible balance of weird shit mixed with super catchy motifs and big time grooves. I wish every day was a Gallegos day!

repressed !

The unstoppable force that is MACEO PLEX launches new label ELLUM AUDIO with the flawless 'High & Sexy EP', two cuts of criminally seductive house music, immersed in moody soul, brooding funk and made to be together.

New Planet 17 sub label! First up is Sound Synthesis under his new moniker Acid Synthesis. Limited hand stamped copies..

Dedicated 21st Century polymath Kay Logan continues to expand her soundworld in every direction at once with her Helena Celle alias. A maximalist internal landscape of broken Jungle patterns, distorted synths and heavily warped instrumentation bent out of cognisance, »If You Can’t Handle You At Your Worst, Then I Don’t Deserve Me At My Best« is Logan’s most danceable, most fun and most gloriously congealed record to date. Since her 2016 debut, Logan has released music as Time Binding Ensemble, Otherworld, in groups Anxiety and Herbert Powell and myriad variations on the Helena Celle moniker. This album is a riposte to her debut and updates its principles. Joyful, degraded Jungle breaks, Cyberpunk synth meltdown, noise solos, true head music, like the furthest Aphex Twin being deep friend in a Glasgow backwater.

Second release on the BeBop label. Limited copies.

*Repress*

Huge 10 Track compilation featuring 10 exclusive new tracks from regular SRTX crew plus a few new faces.

All sides are cut loud for DJ use and will bang the party and won’t disappoint fans of the label.

The double LP features artwork from the hugely talented ‘Giacomo ‘Run’ Bufarini, a prolific street artist whose work appears around the globe and he’s nailed the vibe completely.

After ending 2021 with a big announcement that Laurent Garnier and Scan X were the masterminds behind the label, we start the new year with another big announcement: our 11th release being the labels first 'artist code' album !

Once again a focus on eclecticism, open-mindedness, divergence and non-conformity. Expect to hear a wide range of electronic music from House, Techno, Electro, and even Drum n Bass carefully selected by Monsieur’s Garnier and X.

COD3 QR wants to remain free of all expectations and all prejudices because only one thing counts for us: the music, The Music, THE MUSIC in every shape and form!

Incase you missed the announcement 010 artist reveals were: Laurent Garnier, Speaking Minds & Amarcord, Scan X, Diego Infanzon.

Previous releases have included tracks from the likes of Agents of Time, JoeFarr, Nicolas Bougaieff, Madben, CYRK, Biz and rising talents Works of Intent aka R.O.S.H, LOIS, Softly & Voltaire.

Cod3QR’s profile is steadily growing as a label releasing quality music. With music being the main focus you'll have to wait another 2 months to find out who is behind this latest release. The curiosity continues…..

Head to their Instagram page (ig: cod3qr) for clues to the artist identities.

Hilltown Disco celebrate 5 years with a star-studded compilation of artists that have featured and helped shape the label over the past half decade.

We dedicate this release to the legend, Wibo Lammerts who sadly passed away during the production of the record. Fly high, brother.

On the A-side of the vinyl we welcome back w1b0 and the excellent, Ole Mic Odd, who offer crunchy, dark electronics, perfectly sewn together, producing two future classics, with their bass-heavy electro.

Flip to the B-side and the record ups tempo, with the first track from Larionov & St. Theodore that showcases their slick, punchy electro productions, followed by a spiraling, hypnotic, machine-funk weapon by the brilliant PRZ. The record finishes with Robyrt Hecht’s stripped-back electro track with classic Hecht, signature, captivating vocals.

Massive thank you to everyone who has supported Hilltown Disco since we were founded. Here’s to the next 5!

SUB/014 comes from one of Voigtmann's English wunderkinds - JAMIE LEATHER. Jamie has a wonderful way of weaving melodies into his creations creating sophisticated yet club ready tracks that have been tried by Claus and tested at many occasions during his tours. 'A1 - Universal Space Ride' delivers a monster, a driving club cut that meanders within light and darkness and will get bodies moving on the floor. 'A2 - Tokyo Crossing' comes in hot with references to Japanese quirkiness, big drums, big bassline and a wonderful atmosphere throughout the cut. 'B1 - Hausa Boogie' is a deeper meditative track that floats along with the special 'Jamie Leather classiness'. 'B2 - Control' is the icing on the cake and delivers a wonderful, floaty downtempo track. A special EP.

Lush Electronica from Otus on SLUMP004.

Limited promo !

The Egyptian Lover's 2021 album 1986 was a widely-hailed blast of electro funk perfection from a true lifer - is there anyone other than Greg Broussard you would trust to bring the heat with an 808 and not much else? Now one of the album's standout cuts, 'Lose Control', is getting the single treatment with an extended mix which lets Jamie Jupiter and Brian Ellis' bonus musical contributions to the track take off in full flight. As a bonus treat on the flip, we get the sparkling new joint 'Vocoder Jam', ensuring you have two sides of raw electro heat from one of the sound's true originators.

Imperial Tiger Orchestra's Mercato 12th years Anniversary Edition includes the best of both albums Mercato & Addis Abeba remastered with bonuses live recordings in London, Paris, Addis, Tokyo & Cape Town.

Imperial Tiger Orchestra, the finest connoisseurs and grooviest performers of Ethiopian music from the Golden Age.

Back in 2007 in underground Geneva, band leader Raphaël Anker decides to gather musicians for a one off live performance revisiting the golden age of Ethiopian music.
A memorable event that forced all the musicians to carry on.
As Imperial Tiger Orchestra.

Consisting of members with very diverse backgrounds (free jazz, noise experimentations, contemporary music, twisted pop…) the Orchestra soon travels to Addis-Abeba where they perform with local luminaries and deep learn about the large diversity of Ethiopian music.
A life-changing experience which brings them back to the studio and to a plethora of successful gigs around Europe, Eastern Europe, Japan and Africa.

The Tiger's unique sound is a mesmerizing re-interpretation of Ethiopian music's golden age mixed with the digitalized themes that appeared in the 80s and filtered through their eclectic influences, a sort of retro-futuristic and progressive Ethiopian rock. This Anniversary edition brings back thunderous rhythms and feverish hooks, down tempo moments and fast paced epiphanies, electronic sounds and ambient nirvanas.

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Waiting, always waiting, he’s waiting … at Shibuya Station.
SHIBUYA STATION is an all analogue synth project founded by Marc Schaffer (aka solitude fx, Endphase, Twins Natalia, as well as being the founder of the Anna Logue Records and Nadanna labels). Finding his inspiration in the late 70s to early 80s synth music and the machines of the age themselves, Marc recorded a few tracks back in 2013 which were further developed by fellow musicians Stefan Bornhorst (The Silicon Scientist), Dave Hewson (Poeme Electronique), Orpheo Weidelt (solitude fx), Kriistal Ann (Paradox Obscur) and Erik Söderberg (Kinder Aus Asbest) over the following years. Six tracks made it eventually onto international compilations Tunes That R… Attractive!, Sie Hat Schenkel Wie Godzilla, Jubilee Jamboree – 10 Years Of TuT/RuR and Synthesizer Music On Tape vol.3, which are now presented on a 10” vinyl on the renowned Polytechnic Youth label, who say it’s their last release for awhile, as they concentrate on their new label, Feral Child. Instruments used were Amdek Percussion Synthesizer PCK-100, Boss Voice Transformer VT-1, Casio VL-1, Crumar Performer, DSI Mopho, Korg KR-55B, Korg MS-20, Moog Little Phatty, Moog Voyager, Novation Bass Station II, Oberheim DPX-1, Roland CR-78, Roland SH-2, Yamaha CS01, and VST synthesisers ARP Odyssey, EKSSperimental Sounds ES101, Korg MS-20. The project name is reference to Hachikō, the dog who continued to wait for over nine years following his owner’s death at … Shibuya Station.

10″ vinyl features: limited edition of 300 copies, black vinyl, 40 mm mini labels. Mastering by Stefan Bornhorst (The Silicon Scientist). Artwork by Steve Lippert.

An Italo Disco rarity from 1984 now available again as 12″ vinyl with exclusive remixes by Flemming Dalum and Also Playable Mono.

Much is made of Detroit techno progenitors proximity to the auto plants. Similarly, overlooked electronic pioneer Jeff Phelps was raised just blocks from a Western Pennsylvania steel mill—close enough to smell the sulphur and hear the roaring blast furnace. When Tascam released their ground breaking Portastudio in 1984— allowing multi tracking on the far more financially inclusive cassette tape—Phelps purchased one immediately, and quickly added a Roland SH-101 monophonic synthesizer, Fender Rhodes suitcase piano, Roland drum machine, and a basic Radio Shack stereo mic. Those basic tools were employed on his first commercial productions for his own Engineered For Sound label: 1985’s Magnetic Eyes LP and Antoinette’s “Now You’re Gone” 45. These DIY sketches generated few profits, and Phelps kept his day job in the energy business.

When Amadeezy sent me this track Bass Boss it was like a missing link. I had been digging ATL and southern electro heavy, even tho there was not much out there in a current context, bangers from ppl like Kilo Ali, Raheem the Dream, and A-town Players were in heavy rotation, as well as southern rap and gospel music. This ep encapsulates all those things together."

-Dustin Evans

Beigean returns to his own Tava Discs, as well as to vinyl for TVD002, once again heading into his inherited archive of Punjabi folk, Bollywood disco and an increasingly encyclopedic knowledge of UK club culture. With tracks previously showcased by Midland, HAAi and Erol Alkan, TVD001 quickly became a rarity, and this limited-pressing looks to conquer similar ground via a quadruple attack of deeply effective, disarmingly personal rave movements.

Whereas previous Beigean releases on TVD, Hot Concept and Ransom Note have dug into Haamed Ratyal’s childhood influences, the tougher sounds of TVD002 take inspiration from a further blend of cultures. Initially alchemised during a stretch living along the diverse, tropical and sometimes unforgiving natural landscape of Northeastern Australia, the sounds of TDV002 are appropriately imposing.

Emerging from strikingly lo-fi territory ‘Jaya’s Strut’ slowly builds in groove and intent, weaving bass guitar and crackling drums with dubwise production, a deceivingly simple production that hits with enough character and intent to lead the record. It sets the tone nicely for the rhythmic explosion of Kashmiri Red, which powerfully, smoothly blends chopped-up exotica with flourishes of screwface-inducing bass.

Beigean’s sonics become more dramatic still on ‘Cane Fire Season’. Honoring the agricultural tradition of farmers torching their sugar cane crops each summer in Queensland, the track is itself a fiery pressure machine that overwhelms dancers with clattering drums and an industrial techno atmosphere that wouldn’t feel displaced in some of the world’s largest festival tents.

Finally, Beigean lets his intuitive and evocative percussive programming take the lead on ‘Sun Dappled Burdekin’, a scorched and psychedelic souvenir certain to linger in the heads of ravers as much as the memories that inspired its composition.

For this striking 7th EP, we are lucky to have Mr. Ho back for another massive delivery. This time complete with fully versatile house music.

A1 “Burrow” storms out the gate with an acid attack. The spooky bassline, punchy drums, and acidic atmosphere makes this the complete peak time bomb.

Then the EP smoothly roles into the A2, “TCB2”. A loopy, repetitive drum pattern that is guaranteed to feature for many on repeat mode.

For B1’s “Shoplift” Mr. Ho brings out the melody. This is a feel-good tune featuring an old school jungle-like drum pattern that makes this a great summer outdoor weapon.

Finally, Mr. Ho’s Klasse Wreck partner in crime Luca Lozano provides a silkier twist on “Shoplift” for a vinyl only remix.

This EP provides a whole spectrum of tools for house heads. Groovy, melodic, banging, or loopy, Mr. Ho has got them all covered.

Multi Culti conjure Calypso Cult once again with this split ep from Iñigo Vontier & Thomass Jackson.

Fresh off back-to-back seasons of Tuluminati rituals, these two well-worn chug warriors of dark disco have kept Mexico dancing throughout the pandemic, maintaining a prolific release schedule on top of a world-leadingly busy calendar of gigs.

Thomass Jackson turns in a pair of wonky eyes-closed bangers with the modular-flecked ‘Big Plastic Room,’ and the restrained ecstatic power of ‘Slow Train.’ Iñigo fires back with the twerky, tribal madness of ‘Jungle Tungle’ and the meandering mushroom-inspired-madness of ‘Hipocampos.’

DJ Feedback:

Dude that is a fucking brilliant ep. I can use every track. There’s a Paranoid London track, a Sworn Virgins track, a Mister Deltoid track & a Decius track. It’s fuckin ace!!
- Johnny Aux / Paranoid London

Edgy, Obsessive, Trippy and a bit crazy. I love it (Slow Train the most)
- Jennifer Cardini

I like it in a funky Plastikman big room way.
- Ivan Smagghe (on Big Plastic Room)

Cool one. Trippy… mysterious… solid… positive.
- Rebolledo

LOVING Hipocampos and Slow Train
- Zillas on Acid

The collective mind of SIKU delivers its third concoction of dancefloor stompers. You know the deal.

(Ricardo Villalobos, Ada & Tolouse Low Trax Remixes)

This EP is more than your usual remix package—»Remixed« is a meeting of kindred, idiosyncratic spirits. Ricardo Villalobos, Ada, and Tolouse Low Trax each give a new spin to one track from »You're Super In Diagonal«, the latest album by Ant Orange. Their versions of »Monogome«, »Flutter«, and »Cracker« are complemented by the brand-new track by the elusive artist, »FFF«.

Villalobos keeps it short and sweet—at least by his standards. His rendition of »Monogome« translates the mutant jungle vibes of the original into an entirely different dialect while maintaining its psychedelic qualities. The chugging, nine-minute-long »Siebhouse Remix« is at once rhythmically intricate and positively disorientating. Ada proves to be as imaginative as ever with her first remix in three years. Her take on the album opener »Flutter« extracts the track’s warmth and transplants it into a laid-back downbeat track. She also incorporates the vocals from »Monogome«, but gives it a very different spin and adds a healthy dose of autotune to it in the process. Dreamy, hazy, blissful.

On the flipside, Detlef Weinrich approaches things very differently. His »Bo Bo Zy Remix« of »Cracker« offers industrial at its most inebriated, dub riddims after a bottle of hard liquor instead of a spliff. Ant Orange’s »FFF« then seems to mediate between those three very different approaches: danceable yet melancholic, challenging yet restrained, it picks up on the underlying concept of »You're Super In Diagonal«, combining IDM’s penchant for complex rhythmic structures and a directness inherent to hip-hop music since the early days of the genre up until the age of UK drill.

Bakked is back on his own impint...

Jessica Winter is the queen of sad-bangers, a purveyor of dark glittery synth-pop and a truly unique artist, as well as an acclaimed producer and writer (The Big Moon, Jazmin Bean, Phoebe Green, Walt Disco & more). Growing up on a diet of Nine Inch Nails and Siouxsie and the Banshees, her music is just as likely to channel Madonna, trap, pop, and indie disco. Much of her childhood was spent gazing out of the window from her hospital bed due to hip dysplasia, which led to a very vivid imagination to grow.

Across Jessica Winter’s debut EP ‘Limerence’ for new label Lucky Number, Winter shows her versatility as an artist, from the cinematic-pop aesthetics present in ‘Choreograph’, to a more raucous, dance-heavy approach with ‘Funk This Up’. Grounded within her unique, unmistakable style, Winter delves into everything from synth-pop, punk, and 80’s glam and cements her glimmering pop vision.

“Limerence was written during a time when I was trying to understand my relationship to love and my behaviours around it.” says Jessica; “Love confuses me so much and I think this EP demonstrates that.”

Tracks for astral projection. Levon creates his own tonality using his original pitch designs to take the listener to a place that did not yet exist, whilst maintaining priority dance floor focus. The Niresa tracks are using such unique musical intervals that every listener can decide where the music is taking them, and there is no wrong answer. Levon says, "These are tracks for astral planing. The beauty of creating your own tonal dialog each time you work is that you can literally take the listener somewhere new and un-discovered with each new release

Berlin-based French selector Shonky adds a new dimension to his music career with the launch of his brand new label, Stoned Pilot. Inspired by his love of collaboration, the platform will focus exclusively on collaborative projects with each new release. At his studio in Berlin Shonky has assembled a mouthwatering array of equipment; vintage synths, drum machines and sequencers. The set up allows him to cultivate a highly creative atmosphere - a playground for those who visit - and the resulting productions exude the kind of energy that you typically find during liberating jam sessions. Shonky cites the studio, and its many playthings, as a key part of his growth as an artist. While everyone he invites to join for a session leaves feeling invigorated by the experience.

On the first release he appears with Otis, an Italian producer who lived in the same building as him. Through lockdown the two men became better acquainted and they decided to hit the studio together. The result is the Humanizer EP, featuring four cuts that encompass the merging of Shonky and Otis’ individual styles into one cohesive body of work. On the EP the duo delve into the deeper side of the dance floor, utilising bass, rhythm and energy to explore varying styles and tempos, tinged with an air of mystery.

So the stage is set, Stoned Pilot heralds a new phase in Shonky’s career, from global tours, to his exemplary back catalogue and now label owner with a core ethos centred on creative collaboration.

Full Dose kick your door in with this prime selection of cuts from a new name on the label: Tuck Chains. Who is Tuck Chains? Who knows! But with a crew known for their futuristic and dub-inflected sound, "Tapes" manages to take the label to new heights.

Serving as a masterclass in the sacred art of sample chopping, Tuck Chains offers up a platter of instrumentals that wouldn't sound out-of-place coming from LA in the late 2000s. True to its name, FD013 feels like a mixtape in its delivery, but has a depth and refinement that's difficult to find. Instrumental hip hop of this quality may well have disappeared from the underground but Tuck Chains has successfully iterated on a style guaranteed to bring blunted energy.

"Lock Down", the opening track, quickly sets the scene with metallic and saturated drums. Interspersed with surgical sample chops, the track oscillates between lively and chill after an almost musique concrète sounding intro. This contrast between straight and faded becomes a theme of the album, with moments of intensification punctuating the mellow.

Tracks like "Chrome and Glass" balance fizzy snares, rumbling low end and stabby piano hits to take you on a slow motion coastal journey, while "Ewan Hughes-Army" has an erratic and head-nodding feel that demands your attention. Warbly, downtempo tape vibes feature throughout the release, a combination ripe for repeated, couch-bound listens. With this in mind, "Spanish" feels like the perfect closer - the type of track that oozes sun and THC. Let this be the soundtrack to your hazy holiday.

Arriving directly from the plant and mastered by the label's own Lvcchesi, this could well be the beat tape you knew you were missing! "

Oráculo Records joins forces with Banshees Records to release the vinyl debut of the spaniard act JG OUTSIDER. In between futuristic industrial, electro, ebm and new beat sounds, JG OUTSIDER sound is harsh and fresh, as well as rhythmic but experimental, you could expect all that at the same time. This debut EP comes with four original tracks plus one blasting remix by our berlinese partner in crime SKELESYS, a darky plastic bomb ready to fire up any darky dance floor. Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

‘(Earth in) Blue’ by rogue Japanese producer Hiroshi Matsui aka Royal Mirrorball. Including a previously unreleased instrumental! Comes with obi.

While still in high school, Matsui started studying multi-recording synthesizer composition. His fascination for electronic music quickly became an obsession and in 1985 the eighteen year old Matsui took part in The famous Parco department stores-organized Organ-Zaka competition to win the grand prize, beating such luminaries as Towa Tei (of Deee-Lite fame) and Zabadak and kickstarting his career as a professional musician scoring jingles and commercials.

In 1992 Matsui’s ‘Samba de Howa Howa’ was released as a Japan-only promo. The song nevertheless garnered the attention of Tony Humphries, became a fixture on Kiss FM and was eventually featured on the first volume of King Street’s infamous ‘Sounds of Far East Dance Music’ compilation.

At the end of the nineties Matsui established his own Royal Mirrorball production company and label, kicking off with the EP that featured the wonderful ‘(Earth in) Blue’. Matsui: “the name ‘Royal Mirrorball’ was inspired by the gay clubs of the 80's. That’s what I had in mind whenever I made music, whether it was house music, J-pop, noise or contemporary music.” Quantities of the EP that spawned ‘(Earth in) Blue’ were extremely limited as they were originally intended only as a gift for friends and colleagues. Matsui: “But it was also an issue of cash on hand and production costs. Funds were limited back then.”

Fully remastered from the original tapes and available on vinyl for the first time in 42 years, and CD for the first time in 30 years.
Sleevenotes by Jon Hassell and Brian Eno. Back in record shops on the day of the 2020 vernal equinox, the second release on Hassell’s own Ndeya label.

Hailed as one of the 50 best ambient albums of all time by Pitchfork, Vernal Equinox was the first commercially released work by Jon Hassell, originally put out by Lovely Music in 1977.
It's also the debut of a pioneering new form of music that would become known as “fourth world”: a subtle blend of field recordings, electric jazz, ambience and global music influences.
Hassell’s trademark FX-soaked trumpet is carefully embellished by a studio ensemble including the master Brazilian percussionist Naná Vasconcelos and David Rosenboom on synth.

The result is a quiet, meditative and highly original work of outstanding beauty. Vinyl version is housed in a reverse board outer sleeve with printed inner sleeve. Includes download code.

recut and repress !

The 10010 Records is born tonight.

The man behind the label is Ksky, a Dj and a synth lover from Saint-Petersburg.

His unfabled vinyl-only ‘Underwater Tales’ are gathered on this debut-release.

Main track ‘Underwater Tales’ is pulsing dreamy 130 bpm house with cold 808's rhythm-section and warm Prophet 6 analog synthesis. Just like Gulf Stream, this combination creates something imperfect and vivid.

‘Bad Philly’ is a great banger. There's something epic in this simple track. The portal straight to the morning dancefloor.
The story told in one breath.

‘Metromono’. Loopy house track with 909's and 303's atmosphere. Listen to it and dream while the pictures are rapidly changing behind the window. You’ll never dream alone.

‘Look Back’ is an outro for this release. Because every tale needs an ending.

REN005 brings us 3 unreleased tracks from the SJ vaults along with a new production from 2020.

The EP opens up with the out of this world cut ‘Supernova’, featuring vocals from the man himself along with a spacey blend of beats & bass. ‘Bag Full Of Sess’ marks the return of the Stalker alias with co-producer Johnny C, first used all the way back in 2000 this one features a chunky breakbeat rhythm with plenty of smooth pads and string samples.

On the B-side, ‘Dumbo’ is a delightfully wonky and unconventional UKG cut for the afterparty. ‘Voyage’ gets straight to the point with some darker vibes and distorted basslines.

repressed!

Hits from your favourite era, transported into the future with 2 JJAAMM HOT electro reworks direct from the PXUniverse.

BLEEP was the hype par excellence at the beginning of the techno movement in 1990/91. BLEEP – inspired by the beeping sound of small toy robots – stood for a phase of good mood and sounds that had never existed before. LFO with their groundbreaking track of the same name and Tricky Disco were two protagonists of those happy days.

More than 30 years later, Jürgen Laarmann (editor of the legendary Frontpage Magazine 89-97, promoter of Love Parade and Mayday 91-97, Bash Rec. 91-94) had the thought that nothing is missing in current electronic dance music as much as bleep.

The idea came about when discussing how to create a soundtrack for the art and techno hype of the day and the crypto art moving currenting stirring up the art market. The comeback of bleeps in a new guise is surely a tried and true remedy: the Bleep Gigaverse makes the blockchain shake.

With his old friend and Bash Records buddy Mijk van Dijk, Laarmann developed the NFT anthem with the striking Fazer bullet intro and a fat 2022 bleep that has been extensively tested on post-Corona dancefloors. Club legend Justus Köhncke (Whirlpool Productions among others) himself a big Bleep fan and Laarmann’s neighbor, contributed a house mix. Most recently, they managed to bring the great Michael Wells – the Godfather of Bleep into the Bleep Gigaverse. He contributes as Tricky Disco with all new bleeps and also with a Hardstyle mix, so the EP offers a spectrum with really different mixes.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann
BLEEP war für wenige Monate zum Beginn des Technomovements in 1990/91 der Hype schlechthin. BLEEP – angelehnt an das fiependen Sound von kleinen Spielzeugrobotern – stand für eine Phase guter Laune und Klängen, die es nie zuvor gegeben hatte. LFO mit ihrem bahnbrechenden gleichnamigen Track und Tricky Disco waren zwei Protagonisten jener glücklichen Tage.

Mehr als 30 Jahre später hatte Jürgen Laarmann (Editor des legendären Frontpage Magazins 89-97, Veranstalter von Love Parade und Mayday 91-97, Bash Rec. 91-94) den Gedanken, dass nichts der aktuellen elektronischen Dance Musik so sehr fehlt wie der Bleep.

Die Idee entstand, als man darüber diskutierte, wie man einen Soundtrack für den Kunst- und Technohype dieser Tage erschaffen könnte, jene Kryptokunst, die den Kunstmarkt aufwirbelte. Das Comeback der Bleeps in neuem Gewand ist das probate Mittel: das Bleep Gigaverse lässt die Blockchain erbeben.

Mit seinem alten Freund und Bash Records Kumpel Mijk van Dijk entwickelte Laarmann die NFT Hymne mit dem markanten Fazer-Geschoss Intro und einem fetten 2022er Bleep, der auf den Post-Corona Dancefloors ausgiebig getestet wurde. Club Legende Justus Köhncke (u.a. Whirlpool Productions), selbst großer Bleep Fan und Laarmann‘s Nachbar, steuerte einen housigen Mix bei. Zuletzt gelang es ihnen, mit dem großen Michael Wells den Godfather of Bleep ins Bleep Gigaverse zu holen. Er steuert einen NFT Tricky Disco mit ganz neuen Bleeps und einen Hardstyle Mix bei, so dass die EP ein Spektrum mit wirklich unterschiedlichen Mixen bietet.

May it bleep forever now!

By Mijk van Dijk & Jürgen Laarmann

Placid aka Paul Wise is the leading light behind ‘We’re Going Deep’ – an online community and record label, born out of a lifelong affair with the many shades of electronic rhythm and obsession for collecting records since 1988.

Known to many in underground House and Techno circles, he’s spent the last few decades moving heads and feet at select venues, parties and fields across the UK and beyond. On a mission to share and release new music via his imprint: only the best in Acid, Electro, Techno and Deep House for the dance floor, front room or even just your headphones makes the cut.
For the latest We’re Going Deep solo series edition, Paul welcomes the mysterious talent and touch of Dircsen. Whilst little is known about this impressive producer hailing from Germany, his superbly rounded set of releases for the Hague’s Soundtravels and Croatian outfit Beef Records have certainly captured the ear and the imagination. With a penchant for the purest sounding waves of TB-303, soaring synths and punchy percussion – there’s nothing but magic when it comes to his work.
Kicking off with the hypnotic, dubby tinged tones of ‘Nothing Remains’ on A1 – the stripped back shuffle of percussion and shimmering stabs evolve in ghostly fashion as an evocative mood prevails: a purist exercise in restraint and calm. Balanced with gnarly intent of ‘Artificial Mind’ on A2, he lands the cutting SAW of his trusty synth to an unfaltering 808 groove. That simply grows in intensity and growl – burying itself in your psyche in the process.
B1 ‘Nervous Disorder’ drives on even further into twilight zone, unleashing a soaring lead to the punch of a swinging 909 that’s designed for pure pleasure – an ode to Chicago’s finest. Ending out on the mellower, house inflected tones of ‘Imminent Flow’ on B2. The cyclical roll of the melody and gentle sub compliment each other perfectly as airy pads lift the atmosphere and bring the EP to a dreamy conclusion.

In the label's own words:

"Kennedy returns to another musical dream state bringing nocturnal visions to life through the power of machines. Including three tracks of borderless Hi Tech Soul music, on this third 12" in the series he widens his sonic scope via elements of Jazz and African rhythms next to his own distinctive take on the original sounds of Detroit.

It's another musical offering that comes from deep within mind, body and soul. Side a sounds like a warm fusion of loose rhythms and glowing synths determined by machines, whereas the b-side is more explicitly human-made with flute recorded live by Amsterdam Jazz man Han Litz, bringing a lightness of touch that imbues the music with hope and optimism. Beneath that, a battery of drums is set free calling up acoustic sounds driving from deep inside in a dense forest.

This third translation of thoughts, sensations and sounds is another emotive coming together of man and machine that will find yourself invited to gaze off into an infinite sonic cosmos."

For the fifth iteration of the eight-part Astra Spectra series, Science Cult presents iconic German producer Liebknecht with 4 dance floor ready tracks. Included is a deep and futuristic remix by label co-founder Syrte.

Pressed on a limited run of green vinyl, the colour and name of the EP correspond to Iron on the Fraunhofer Absorption Spectrum of our sun.

Stefan Weise aka Syrte envisioned the “Astra Spectra” series as a celebration of mankind’s vision for space exploration, past and future, while also expressing a love for space science, science fiction and the spirit of discovery. Each release in the series is representative of a color frequency in our sun’s absorption spectrum and the element which is represented by that, hence the name, which means “Solar Spectrum”

Electro Break and Downtempo 2xLP by Daniel Anselmi. 10th label’s release.From the label SEQUALOG run by TC80.

The first offering on Australian label Lunatic Music comes from Jamie Blanco of Ess O Ess. Unit of Measure takes the listener on an acid-laced journey, while Sample Bases shows us Blanco’s range and stays true to the title. To complement the release, both cuts have been flipped and remixed. The A-side getting dubbed out by the don Conrad McDonnell of the Idjut Boys, While the B-side cops treatment by local lunatics Dexter Gregg & Mick Harney of Oak Park.

Wayout Records head honcho, Manchester DJ and producer James Kumo aka K.Mo, takes the reins for their next release ‘Space Funk EP’, featuring man of the moment Byron The Aquarius.

The deep house groove of title track ‘Space Funk’ has Byron on keys, laying down his trademark synth and bassline stabs courtesy of his Prophet 6. The warm and soulful vibes sit alongside driving drum patterns and additional live percussion by Mauskovic Dance Band member Chris Bruining.

The B side opens with ‘Moon Light Shuffle’, delivering a captivating bass line with synth lead melodies accenting the organic solo to die for from the super talented Tim Jules.

Close ‘Inner Soul’ is full of sparkle with heady pads, luscious piano chords again from Tim Jules, elevating this very credible record to a whole other level.