House News

Systematic Recordings celebrates its tenth anniversary and decided to release only special vinyl pressings during this year. The already second part of Marc Romboy´s series is therefor also a collector´s item and comes along in form of a coloured vinyl. Both tracks, the melodic - Simi and the tracky - Bylgja have been featured at Romboy´s and Bodzin´s buzz causing Be-At-TV show at Village Underground in London last December!

Pilocka Krach still means nothing but Pilocka Noise. She's the charming queen of Berlins Post Techno Underground and a true Recording & Perfoming artist. Her new release on her very own imprint Greatest Hits International is a conceptional framed double vinyl album and a journey diary of her last two years on tour around the globe, with Mexico, Detroit and her hometown roots in Berlin as fixpoints on her neverending agenda. Pilocka Krach is Sugar Cane & The Lost Amigos , her band and all at once. Her style is pure electro post rave simplicity, where each single sound is either raw sampling cuts or deep growling synthesis. Big basslines meet funky grooves and surprising hooks, grooving along with her own voice and a lot of other vocal features, whereever you go. Each 'n everthing gets the room it deserves and mingles alltogether to so much more, than just another stereo sum. Never heard an album that dry and that wet at the same time, with an overall fun and jam factor, that is truly touching. She took her original style more than just a few steps further and sharpened her skills in an impressive and real straight forward way of raw funkyness and true storytelling. You can't listen to it without moving. Pilocka is always surfing the right balance of how much, or better how less it needs, to keep it going, get down to the point of no return and beyond the miracle of repetition. Pure oldschool sounds never sounded that fresh and never, ever 'been told that way before.

In 2013, we released the debut album from The Beat Broker. It went down a storm with both the disco buying public and critics alike. Fast forward to 2017 and we are just as pleased to welcome the second album from the San Francisco resident. He is here to share his sunshine once more.

The Beat Broker or Ryan Bishop (to his buds) was born and raised in southern California. With early production partner Ryan Fitzgerald they recorded as Broker/Dealer and released on sought after labels like Spectral, Traum and Sentrall. They ran a longstanding club night in SF called POP so Ryan began to make edits, new productions and remixes to integrate into the night. Starting out with slower sleazy cosmic jams for the beginning of the night, then up tempo synthesizer crowd pleasers for the early morning. These productions found their way onto records via labels like Flexx, Disques Sinthomme and more recently Adult Contemporary. Ryan also runs a well respected blog called Dream Chimney.

Ryan returns with his trademark fusion sounds. Disco, meets emotional electronic meets early 80s electro meets contemporary synth groove. But, as ever, all presented with a sheen of positivity and optimism. The album opens up with the ponderous but solid "Night Drive", a track that surely describes itself too well. "Groove Glide" gets things swinging with its driving drum machine, darting synth and luxurious arp riff.

"Living On The Edge" is next. This summer filled track. Here Ryan partners with fellow Bay area resident and all around Sultan of Chill Sorcerer (aka Dan Judd). Its swooning synth and sun-drenched Sorcerer guitar all the way. Next is "Flexxibility". Here the synths get chunky and the beats bigger for this dance fest. "New Business" is angular and mysterious and "After Touch" is bold and powerful. "Mystic Moods" swings high and slick. The LP rounds off with the dreamy, laid back synthfest that is "Infinite Wave" and housey bonus beats of "Make Your Move"

So LP2, the business is done and you have been Brokered!

Timothy J. Fairplay is revisiting Hoga Nord Rekords to release the 12inch EP Mindfighter: photosensitive electronic music from one of the pillars of the modern meaningful dance music scene. Together with Scott Frasier, T.J.F. is running the record label 'Crimes Of The Future' and he is also known as one half of The Asphodells together with Andrew Weatherall. This is his second release on Hoga Nord Rekords and his first EP on the label.

The feeling of full control characterizes every second of Mindfighter. As usual, T.J.F picks up influences from everywhere; House, techno, electro, kraut and psychedelia forms the sound of this release and creates a unique sound. Drips of discrete and contrasting nuances colours the monotonous and hypnotic groove and creates the effect of double exposition, like in the track Jennifer Has Some Strange Ideas that develops in to a love affair between Hi fi and Lo fi. The build-ups are exquisitely balanced and compassionate and in Nightmare City the melodies resounds from some horror movie soundtrack by John Carpenter or Fabio Frizzi.

The title of this EP comes from a cult computer game from the eighties. The game is about a boy with supernatural psychic abilities who wakes up in a post nuclear war Southampton, in an England run by right wing extremists. A theme not impossible to put in present time.

Mindfighter shows once again that Timothy J. Fairplay is on to something different. The craftsmanship is undoubted on this trip into a dystopic Europe, in a not so distant future.

A split release on Nation's sublabel, Kode. Two exclusive tracks from Black Meteoric Star and D'Marc Cantu. These songs will never be released anywhere else. 250 copies only.
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D'Marc Cantu's RDDS is an abstract production where Hip Hop Meets electronix. A rare, unique document of class and sickness.

Black Meteoric Star closes the release with an homage to a legendary NYC neo film...

Release number two on Pleasure wave comes from Jonny 5,known for his releases on the Bahnsteig label, here the edit meister delivers four tracks of cosmic goodness, adding synths and drums to the cut n paste..

For a short period in 1981 and with brand-new equipment such as Roland 808, SH 101, GR 500, we made some 8-track "just for fun" jam tapes. Mainly just to experiment for our own pleasure. From those sessions, only "White Horse" made it to a final treatment. The rest of the material was left behind, as our record company at the time found it too "different".

Optimo Trax 30 celebrates a double 30 year anniversary: the original release date of Rejekto' and 30 years since Twitch started dj'ing. In 1987, Twitch, who wasn't known as Twitch yet, picked up a copy of Rejekto' at Glasgow's then numero uno import shop, 23rd Precinct. He was smitten.

Shortly after that he got his first ever dj gig and played Rejekto' in his first ever dj set. Nobody danced to it. He kept playing it and still nobody danced to it. Eventually he gave up playing it, but never stopped loving it.

A few years ago he felt the time was right to try playing it again, and this time, people danced to it. In fact, people loved it and would ask about it and shriek in delight when they heard it. There is often a lot of false nostalgia talked about in dance music and how it was better back in the day'. Well, in some ways it was but in many it wasn't, and 30 years later it feels as if perhaps ears are more open, or perhaps Rejekto' was just ahead of its time

From Germany, written and produced by Ra-Hen and Talla 2XLC, Robotiko Reject's Rejekto' was the inaugural release on the Techno Drome International label. With a powerful and seductive vocal sung in Romanian it has latterly been categorised as EBM/Techno but at the time didn't really fit into any convenient genre. Twitch called it electrobeat.

To celebrate this 30th release on Optimo Trax, the 12' comes in a
special sleeve designed by Katie Shambles and Andrew Beltran. As well as featuring the original classic Perfekto' and U.S. Dub' versions, this reissue features a slo-mo cover version by long-time Twitch friend and ally, the mysterious Frenchbloke who was the only other person he knew back then who also loved this wonderful record. Robotiko!

For its fourth release, Harry Agius aka Midland's Graded label has signed its first new act in the form of Montreal-based Solitary Dancer. With 'Desire & Apathy' being instantly familiar to anyone who heard Midland's Essential Mix earlier this year, this eponymously titled release marks the debut of Solitary Dancer, as well as Agius' second time stepping into the role of label A&R following Hubie Davidson's appearance on Graded's 'Regraded' sub-label last year.

Afteran A side talking loud Electro techno, you'll get on the flip an Electro-Swing awaited sound ! Cool, smart, Welldone and dancefloor for the Triplettes De Belleville:)

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!

Electro House songs in a New Wave state of mind ^^

Ant6-en back to the Synth-wave roots , with a full album of electr-indus featuring The Horrorist remix... a banging insane tune !! Its good to hear a label coming from these dark ages of this electronik music producing this style again... no nostalgy ! Just history !!

First release by a female ensemble from Rotterdam.

Kondi Records gives you the first glimpse into the mind of the mysterious artist, Vessel in Distress. A full spectrum minialbum to suit robots and humanoids alike with it's remarkable twist of classic electro vibes blending the dry and the evocative, going both backward and forward in time. For the Stinson/Le Car heads.

**VERY LIMITED / LIVE RELEASE**

REPRESS !

Il Bosco is back on wax!
Better late than never - this one's been in the mixer, the blender and on the shelf for months or even years!
The Red Laser masterblaster comes very correct collaborating along the way with Manc label comrades Metrodome & Starion.
Mind melding synth jizz is combined with electro chicanery & spicy dub aesthetics.


100% rave tested from Manchester to Berlin to Anglesey.
Limited to 150. Hand stamped labels and 'theory insert' from Il Bosco.

House pioneer Thee J Johanz reworked his 1992 Irdial house classic 'Move Your Butty'. With remix by Prins Thomas and the sublime remastered 1992 original.

The original Move Your Butty (1992) gained cult status and the time seems right for a re-release of this gem. It was originally out on the legendary London based Irdial Records. Thee J Johanz decided to replace samples with synths, which gave him the freedom to create a totally fresh and moody remix, good enough to keep our butty's moving for the next 20 years. The strings of the Elka Synthex give you wings, while the typical Move Your Butty bassline is pumpin you up. Expect the unexpected from Prins Thomas' remix: very refreshing funky eighties electro vibes, or is it the sound of the future An original approach with an oasis of Move Your Butty references in the middle. An excellent remix of the remix.

Here is tablon's forthcoming release. After two EP's by Arnaud and Sarp Yilmaz, this young parisian label presents its third 12" release.
Known as a main parisian house figure, Dolibox comes now with "Sofi is Acid", a deep four track EP. Going from percussive house grooves to deep, planing moody cuts, his characteristic style talks for itself.

Creme Organization's latest missive comes from Fabio Monesi, an Italian with a gritty house sound that is aimed squarely at the club. He's served up punchy beats on labels like Russian Torrent versions as well as his own Wilson Records before now and has a simple but effective sound. 'Riot' kicks us off with rock slid kicks and lithe synth stabs fleshing out the macho groove. Clever vocal samples bring some steaminess and ensure this one will do plenty of damage on the floor. 'Last Friday' is a raw and lo-fi affair with rattling, sharp edged hits and hissing synths all softened with jazzy chords. House drums and rolling bass prop it up in groovy fashion, then 'Reduction' is a frazzled brew of spiting hits, jerking machine grooves and busted frequencies that is as raw and tough as you like. Last of all, the excellent 'Ozyork' rounds us out with punchy drum programming, intoxicating and off kilter chords and brain frying sonic imperfections that are perfectly imperfect. Add in a deep acid line and you have a surefire house bomb with real meat in its bones.

We eroded pre-existent structures constructing an open heterotopic space, a horizontal and vertical thinking found its way through physical- and cyberspace, Here, nothing manifested instantly - flippancy left space for any kind of interaction and appropriation. Within (or well beyond) economic pressure points which diluted production, this was our opportunity to try out different potentials with no restrictions to the public, while simultaneously scrutinising the general framework of institutions and human behaviours.

a great electro 2-tracker from the mau5trap label !!! now repressed !!!

Ricardo Villalobos delivers his 2nd remix for the label (2 of 5 !) which he's worked up, alongside studio partner Frank Greiner, into a confoundingly brilliant reworking of Eighties Throwback. Taking Freaks' original and already twisted sounds and vocals and twisting them up even further into another 14 minute (in it's edited form) piece of musical genius. Free of compromise and thus fitting the MFF ethos perfectly, the track is a wonderful example of Villalobos wildly experimental dexterity. This is for all those dedicated to their turntable and the love of an awe inspiring journey into sonics and beats. On the flip side you'll find a record from the other side of the house planet... Boston disco inspired, Soul Clap rework Diz Washington's vocals on the wonderful Washing Machine to funk them up to within an inch of their beautifully original understated life. Fresh from working with P-Funk orginator, George Clinton, their Washing Machine remix is a crisp, futuristic and downright freaky funkathon which will undoubtedly resonate at clubs and after parties for many moons. And last but not least, an original track from Freaks - originally a remix, Justin and Luke recorded back in the 90's which never saw the light of day, they removed any references, renamed it Robotic Movement and released it on their album The Beat Diaries. Here they've re-mastered the original for vinyl (never having been available before on wax) and are very happy to be able to press up one of the tracks they've been most proud of throughout the musical history of Freaks and Music For Freaks.

NSDOS is back with some new toys from outer space - on this EP we hear six figments of his twisted imagination, caught live ....
On this very dense and captivating EP, Kirikoo Des goes back to the 90's with some cut up electronica flair ("Christine +2", "Dona J Haraway") reminiscing Oval's work or some experimental Shake Shakir tunes. The longest tracks though feels closer to a club from the future with some eerie pads ("Fa") and liquid rhythms patterns typical of the NSDOS touch we love ("Yuko"). Overall this EP is a much cerebral effort and yet still keeps a vibrant and gorgeous organic side to it. Demanding the full attention of the listener, the reward in the end is a total bliss taking us in a deep dimension. "Space is the place" as the master Sun Ra once said!

After a few excursions on 777 Recordings, Die Orakel and Bokhari Records plus remixes for Spectral Sound and Nuearth Kitchen, Orson Wells returns to his own Sound Mirror imprint with another superb 3-tracker. A slightly electro tinged dreamy and melodic beauty called G.I.T.S.' is followed by the distorted, heavy breakbeat enhanced pounding title track Missn' U' on side A, while the futuristic deep journey Red Planet' on the flip makes this EP another versatile and quality packed release you shouldn't miss.

5th release from Basssa Clan is another outstanding beauty!

First release by Rotterdams young entrepeneur Offset. 3 electro cuts and an dub techno track on the flip! 300 copies limited handstamped business.

one of BOB SINCLAR's secret weapon at this year's miami conf. FEDO MORA started djing in 1994 in clubs on the beautiful Costa Smeralda in Sardinia. FEDO is a producer and a remixer working with the biggest Italian labels since 1998 His main projects are F.E.D.O., Sergio Del Rio, 4fx, Freaks Jam, Pussy Dub Foundation and he has remixed Todd Terry, Dennis Ferrer, Bob Sinclar, Julien Jabre, Richard-F and many others... CAMURRI has been a professional dj since 2002, he is the resident dj at the MOXA club in Italy. In 2008, he teams up with Fedo Mora and together they produce FEDO MORA & CAMURRI - "After the rain" featuring warm reggae-style vocals by Patrick.EXPORT RESTRICTION TO SOME COUNTRIES...

the new smasher album from vitalic !!!

Zwischenfall formed in Belgium in 1982 with Michael Sass (synths), Martin Urban (bass/vocals) and Stephan Kraemer (guitar/drums). They were united by their interest in combining electronic and traditional instruments, which developed the basis for 1982 demo recordings. By chance Patrick Codenys of the Belgian electro pioneers Front 242, heard two songs and decided to record a 4-song EP. The Heute' EP was released in 1983 after a week of recording in Front 242's private studio under the direction of sound-whiz Daniel B. In 1984 Martin Urban left the band and was replaced by vocalist Iben Larssen and bassist Thomas Kürsten. They recorded their second 12' single, Sandy Eyes', which contained a remake of their song Fluct', sung in the English this time. Some fairly revolutionary techniques were used, including the introduction of sampling (with an Emulator I and Ensoniq Mirage), and 'gated reverb', in which the sound of a large reverb room was processed through a Yamaha CS15's envelope follower. This record was originally released in 1984 on both Les Disques du Crépuscule and Fuzz Dance, packaged in three different covers. Our reissue EP features two bonus tracks from the 1984 recording sessions previously unreleased on vinyl: the saxophone drenched instrumental Polar Magazine' and street beat dance track Sacred Time'.

Daniel Avery releases his 'Need Electric' EP June 25th on Phantasy Sound. The London based DJ has spent the last few years impressing his peers, collaborating with Justin Robertson, being singled-out as the one to watch by Andrew Weatherall (who also lent his midas remix touch to Daniel's last release) and has now signed up to Erol Alkan's Phantasy label. Daniel's releases have already appeared on Tigersushi, Throne Of Blood and Relish and he is a sought after remixer having leant his distinctive style to tracks for Metronomy, Django Django, The 2 Bears, Mickey Moonlight, Jokers Of The Scene, amongst others.
This new EP is a definitive statement of intent for Avery as a producer in his own right. The vinyl resurects lock grooves for the more adventurous Dj, and features unique artwork from the up and coming Kate Copeland.

"Defendergrooverecords Frankfurt a.M. Germany presents "Days in Space" (DGR#006) , another EP with brandnew music by Electrodefender.

Roots of Classic-Electrostyle from the early 80ies have find new and unique ways to form the historic Electroplant for some new Electro fruits this days"
(104 copies only, limited edition)

HELIC.AL, the new label from Todd Sines + Charles Noel / Archetyp, functions as an constrained exercise to break from restrictions. Instead of the obvious new electronic dance music label that would be expected of these seasoned producers, HELIC.AL turns history on its ear, resulting in collaborations new and old. The debut album from Interval, featuring bassist Andries Boekelman, Sines on vocals, guitar, synths & engineering, Noel on drums and percussion, steps outside the comfort zone of endless tracks and overdubs from a digital workflow, tracked to 8-track tape, and mastered direct to lacquer by Josh Bonati, with no computers in between.

Future releases include Crash Course in Science's Michael Zodorozny and Todd Sines as I/TMSZ, Soviet's Amanda Berkowitz and Alyssa Barrera as Artefactos de Dolor, Möthersky, Excepter's SSPS & Gramma, and is in discussion for releases from Robert Görl of Deutsch Amerikanische Freundschaft, Graham Lewis of Wire, Dome and He Said, and Stephen Mallinder of Cabaret Voltaire / Wrangler, for a follow up to his seminal 1982 release, Pow Wow.

Black Catalogue is owned and run by DJ/Producer Monty Luke. The label is a forum for underground music from around the globe. And beyond.

This first release, the 'Tomorrow EP' contains three tracks and gives an eclectic glimpse into what just what Black Catalogue is all about. The A-side, 'Tomorrow,' is a sub-bass driven snapshot one of Detroit's possible futures. 'The Next' is simply a message. And the double-A side, 'Yesterday & Today' is a Detroit dancefloor record that takes a filtered disco hook into a future direction. We hope you enjoy it.

Limited 100 copy white label repress!

REPRESSED !!
Upcoming Various Artists EP on 777 Recordings!

Yoshi and Sbri, a long time friends, set about planning and performing in underground parties and off-locations in Berlin.
Co-founders of Libertine Records, a techno/deep/electro label, they deliver their latest productions by their first EP with the other Libertine resident Saverio Celestri.

Lucifer & Lust is a 10-inch mini album by Dmitry Distant, showcasing the diversity of his talent. The 6 tracks by the Russian-born artist who currently resides in Latvia reflect the atmosphere of the Baltic and the mystic sides of electronic music. Showing where his devotion lies, Dmitry experiments on the verge of techno, wave and industrial. On this mini album, he grasps our attention with minimalistic trance-like rhythms covered in fluctuating painful melodies, using wonderful analogue sounds and exotic instruments such as the electric violin.

Deconstructed EBM from the Nous affiliate Spoiled Drama kicks off the new Science Fiction compilation - 10 tracks of crazed machine grooves further diversifying the Science Fiction's exploration into synthetics. The opener driven simply by an obnoxiously saturated digital drum machine and a mechanical body music bass loop simultaneously hints to late 80s darkside Chicago roots with hard flanged hi-hats and a detuned string machine.

Future Times is back at you with more hot wax!! DC's own OV, who came correct with the opening cut on our Vibe 3 compilation, shares this 12" with Diego (also known as Dude Energy, Suzanne Kraft) and together they lift off into the atmosphere with two dope cuts. BIG TIP!
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OV's "Perc Song (Chords)" sets a perfect, humid scene full of string licks and syncopated chunk, before it rinses the "(Chords)" and cools way out, setting the scene for "Crack" on the flip. Diego's track climbs all the way up, cutting in slippery drums and arpeggios underneath the floating, soaked synths, before the end of the tune gives way to pure pad bliss.

'Star Of Love' is the much anticipated debut album from the purveyors of boundary shattering electro Crystal Fighters, whose music melds Animal Collective toned delicacy with Soulwax inspired rave

Without knowing it, you've probably heard Kelly Lee Owens' work over the past few years: the 27-year-old London producer contributed vocals and writing to several tracks on fellow UK techno wizard Daniel Avery's debut LP, 2014's Drone Logic, and she's made waves with a pair of limited-release 12" singles showcasing her gifts for spectral, hallucinatory pop. On Oleic, her debut release on Smalltown Supersound, Owens flexes her considerable muscle as a dance producer with four luscious, deeply satisfying slices of big-room electronic music.
If previous single "Arthur" tugged at the threads of expansive house music, then Oleic finds Owens fully immersed in cavernous bass, circuitous melodical phrasing, and intricately textured synths. "C.B.M." wanders ominously through a thicket of rushed snares and distant synths, with Owens' vocal incantations occasionally emerging through the fog. Oleic's title track is ecstatic club fare, an endless loop doing swan dives around a patient, sturdy backbeat.

On the B-side, Owens' remix of Norwegian avant-musician Jenny Hval's "Kingsize" provides an experiment in the use of negative space, turning Hval's original into a propulsive, handclap-dotted journey with a few synth squiggles here and there that provide jarring bursts of color.

Oleic closes with a throwback to the days of Midwestern acid with the aptly named "Elliptic," all crisp drums and stuttering vocal samples with acid's signature squelches just close enough to touch the elements around them. It's a closer on an EP that showcases deep range and know-how when it comes to dance music's past and present, and Oleic only draws further intrigue as to what the future holds for Owens.

Valencia´s Daniel Kyo arrives at the Bordello with a 12' brimming with his hometown´s synthesizer traditions. Evanescence spills brooding bars across clean percussion. Stripped down rhythms buttress shimmering synthwork, cold bars coarsened by acidic undercurrents. And within this pared back style there lies a groove, a subtle development that grow into full bodied floor jams. An EP of electronic elegance and robust proportions.

!!! repress !!! mega-record by john tejada !!!

Techno's brothers on the run, Octave One, take time off from global touring to deliver what promises to be one of the biggest dance anthems of 2016.The remixes of the irrepressible "Jazzo/Lose Myself" are creating such a stir that it is shaping up as the biggest release by Lenny and Lawrence Burden since their iconic ) "Blackwater".Like "Blackwater" it features vocals from Ann Saunderson , so history looks set to repeat itself.The track started off on the Octave One startlingly good album "Burn It Down" but is enjoying a new lease of life with separate reworks come from long time Octave One devotees Paul Woolford and Matt Playford, and they each deliver big time with "reaching for the lasers" dance floor winners. There is also an "Ocapella Mix" by Octave One for DJ's to have fun with and "Bad Love", a new recording available for the first time.The result is a 12" that will appeal to lovers of Paul and Matt's distinctive sound on labels like Planet E, Cocoon and Skint as well as devotees of all things 430 West.Paul's remix has had support from the likes of Sasha, Pete Tong and Annie Mac and as well as club plays has been getting plays on Radio 1.

Echoe returns for its first outing of 2017 and fifth release since starting in earnest last year. ECHOE005 marks the first remix package in the label's discography, offering up four stellar remixes of Francesca Lombardo's "Remembrance" song. A clear stand-out in the label boss's inimitable repertoire, "Remembrance" has been given the rework treatment by house and techno stalwarts: Cassy, Laura Jones, Jade and La Fleur.

Cassy offers up the first remix, focussing her reinterpretation around an enormous and insistent bassline, murky and dense in equal measure, that rolls from start to finish. Undulating hats inject further energy, doubling in pace strategically whilst complimenting the 4/4 groove. Utilising the originals' emotional resonance, Cassy creates soft textures and refined arpeggiated patterns, adding a further dimension to the track's impassioned narrative.

Laura Jones's remix comes in the form of a low-slung, jazzy drum work-out, adorned with sub-heavy kicks and a snarling low-end that offers much of the track's sonic weight. Gentle bell-like keys float alongside modulated synth stabs that filter in and out of focus, whilst Jones's drum programming becomes progressively more and more frenetic.

Jade's reimagining sees a broken beat take the reigns, leaving space for soft percussive rhythms and an earth shaking low-end that pushes the song into ghetto house territory. Hi-hat pick-ups and jittery vocal cuts provide further momentum before the groove lands on sturdy 4/4 terrain. Jade's deftly arranged breakdowns, punctuated by panned drum fills and granular FX, adds welcome tension to the track, making a return to rolling drum-patterns and buzzing bass-sequences all the more rewarding as they come back in.

The final remix comes courtesy of La Fleur who delivers the most peak-time, club focussed material on the package. Staying true to the original's hook, La Fleur brings melody to the fore, whilst deploying snappy drums alongside chilling atmospherics and tech heavy stabs, set to keep dancers moving into early hours and beyond.

Aspecto Humano presents his second release to date with an Anbau EP, where the couple from Barcelona continues its personal trip through a synthetic universe, dyed with influences from another era. Along with their tracks Franck Kartell's remix enriches the trip with a melodic electro, yet a bit more contemplative vision of 'Bushido'. Finally, Hyboid redefines 'LSD', building a new track with his distinctive synthwave imprint.

Electro Funky Groove

Idm Groovy breakz... jazzy electro vibe.

One side bringing a cool tek house ritch tune and one side for a Ragga Jungle massive remix !

Thick electro old school... extreme stuff ^^

a great techno house track with some nice trumpet samples from colombia !!! this is a secret weapon of this summer !!!!

REPRESSED !!
Reissue of selected tracks from the"Reflection" LP by Walt J, originally released on Dow Records in 1997. This is the fourth and final release on the Walt J series on FIT, created revisit the back catalog of this very talented producer.

SVS Records and Schamoni Musik are teaming up with a release by Schamoni-Labelhead BELP himself.

"In the end he was just shaking his head saying 'crazy shit', which is a real compliment from such a seasoned guru." Belp on Radioactive Man (Two Lone Swordsman), London, 2015 BELP alias Sebastian Schnitzenbaumer founding member of Munich's pop-label Schamoni Musik, debuts on SVS Records with a palladium of crazy energy overdose-jams named 'Elephants'.

His musical playground is lo-fi, nerdy and very digital. The 6-track mini-album is his unique exegesis of experimental broken electronic music, based on harmonic algorythms and programmed structures using Linux and a plethora of over 600 half-baked, buggy, highly innovative yet trashy open-source software algorithms. Keeping in sync with this - all the artwork was completely auto-generated by software using an evolution-based artificial intelligence engine called QBist.

French producers DJ Deep and Traumer pair up for their debut on Radio Slave's Rekids.
A key component in Parisian techno since the '90s, DJ Deep's influence is indisputable whether it's helming Deeply Rooted House Records, launching his own rotary DJ mixer series or his numerous appearances on Tresor Records alongside GETTRAUM founder Roman Poncet, who appears on this release as Traumer.
'La Valle La B' comes in three forms. The 'La Deep Mix' is an echoing number complete with rhythmic percussion and rumbling bass, whilst 'La Slave Mix' is a glitchier alternative featuring various subtle nuances and otherworldly atmospherics. Finally 'La Spicy Mix' concludes the package with a focus on piercing synths and a compelling groove.

Hyboid ist zurück mit spacigem Electro-Pop der dritten Art: "UFOs over Berlin" erzählt die Geschichte von einer UFO-Invasion in unserer Hauptstadt. Das Mini-Album knüpft mit seinen 6 Stücken an Hyboid-Werke aus der Frühzeit des Astro Chicken Labels an. Analoge Klänge und sphärische Melodien und Pads lassen keinen Zweifel: Space is the place!

Next up Creme Organization is a return by regular artist Lake Haze. Following his Natural Insight EP earlier in the year comes Intergalactic Communicationz, four more fresh tracks of acid, techno and electro that is brilliantly evocative. The Portuguese artist known as Goncalo Salgado also please son labels like Unknown to the Unknown and is a real hardware master. At The Gates ov Futron is a turbulent lack track with zipping acid and a cacophony of percussion that is visceral as well as cinematic. Drexciyan Aquarium is, as the name suggest, an aqueous electro track that slithers and slides through an expansive underwater world. Poseidon's Dream then offers a more rugged electro groove that is backed by heavenly pads and a real sense of loss in the synths. Last of all, Intergalactic Communication closes out this far travelling and intergalactic EP with a sci-fi deep house track that is filled with light, 909s and a sense that the end of the world is coming.

Re-edits inspired by the legendary all-ages Chicago night club MEDUSAS done by JAMAL (HIEROGLYPIC BEING) MOSS. This EP includes BLANCMANGE'S minor hit "BLIND VISION", "FLYING TURNS" by CRASH COURSE IN SCIENCE, and "FIRST STEPS 2 HEAVEN" by DAF. In stickered paper sleeves.

This various contains a dark, slow, atmospheric track by long date hunter, Drvg Cvltvre to introduce the record heavily and to conduct your dreams. Then, the break' n' experimental track by Goolyk is following on the Z side. About the Y side, two pure techno tracks for body & mind, between acidic lines from the satanic player Run X and some deconstruct music by the rAver Damcase.
Don't hesitate to pitch the record +8.

tags: devotional idm ambient electronica electronics techno Stockholm

Dreamy sound scapes and 909 claps dubbed out in cosmic space. From Dublin to Rotterdam taking in the spirit of Detroit and beyond this four tracker VA has the summer techno sound. Duplex have their own unique Detroit on techno on the A side where Costelloe gives us his own synth laden sound. The B side Mark du Mosch and DeFeKT give a more dubbed out approach. This vinyl only release will damage across dancefloors this summer.

The long established and critically acclaimed DJ-Kicks series kicks off 2017 with suitably accomplished DJ, producer, vocalist and instrumentalist Matthew Dear at the helm.A man of many musical hats, Texas born, Detroit raised Dear has a wide reaching discography that takes in face melting techno as Jabberjaw, dark avant-pop under his own name and intricate minimal as Audion.Often with a gothic slant and full of curiousness, his pensive but playful music is an intoxicating distillation of many different influences, often withhis own stylised vocals at the centre.

Olim in latin can be used to indicate a time in the past or in the future. It can mean 'once upon a time' and 'someday in the future'. A name and a project to try to move away from trends and genres, by taking inspiration from the past but at the same time leaving it, moving forward to shape a different and more narrative sound. The first attempt to do so is Recursively: an 8 track album, opening with a sentence from Bunny Marrett sampled from an old documentary about St Paul's and the Jamaican immigration in Bristol during the 80's. Inspired by those intro words, Recursively is a journey born from many years moving around, packing and unpacking suitcases, leaving villages, finding cities,leaving friends and finding more, emigrating, integrating. It's a story about an entire generation trying to find the peace somewhere, somehow, sometimes by repeating the same steps in a loop of actions which seem to be the same but ultimately never are. It's a soundtrack of those feelings and at the same time a message of hope to continue the journey through the faith that the meaning is the infinite journey itself. An infinite loop masterfully represented in Carol Rollo's illustration. A story to be continued.

Since the release of the original Pure Garage album in 2000, Pure are firmly established as the no.1 urban dance music compilation pioneers. Pure has sold over 2 million albums to a loyal and still growing listenership that trust Pure to curate the best albums around.

Now team Pure step back into their spiritual homeland with Pure Garage - Mixed by FooR, focusing on the biggest sounds in new school UK Garage. Key Artists include Blonde & Craig David - Nothing Like You (unreleased Matt Jam Lamont Remix), Disciples, Jax Jones, Jonas Blue (Bump & Flex Remix), Amy Winehouse (MJ Cole Remix), Rudimental, Low Steppa, Ryan Blyth - Show Me (exclusive FooR Remix), Disclosure, Skream, Ramsey & Fen - Lovebug (exclusive FooR Remix) plus Wideboys & Becky Hill. The new school are represented by TQD, Majestic, Royal-T, Wittyboy and of course FooR themselves.

FooR are a four piece collective of producer, musicians & DJ's at the forefront of the new UK Garage scene. FooR have had shows on Kiss FM and Kiss Fresh and their releases have been supported on Radio 1, 1Xtra and Kiss FM. FooR have remixed for the likes of Wretch 32, Alesha Dixon and Tinchy Stryder plus have produced 10 exclusive tracks for this album, including the lead radio single 'Down' with Karen Harding, their star is rising for 2017!

Pure Garage is a triple cd & 60 track album including exclusive tracks, remixes and VIP versions made especially for the album.























































[ZZA] CD3-13. Tuff Culture - Artillery
[ZZB] CD3-14. Mikey B ft. Teresa - Girlfriend
[ZZC] CD3-15. Shaun Dean - They Know (VIP) 
[ZZD] CD3-16. Jay Faded - Dirt
[ZZE] CD3-17. Smokey Bubblin' B - License
[ZZF] CD3-18. Dusky ft. Wiley - Sort It Out Sharon (Dread D Remix)
[ZZG] CD3-19. Mike Delinquent Project ft. Flirta D and Scrufizzer - I Got The Flow
[ZZH] CD3-20. Jaguar Skills ft. Milli Major - Reload That

Viscera is stretched out, bursting and tearing open. Ancient pain, which had crawled deep and crept into the most remote folds of their skin, to be sheltered there by eternal darkness, wails and moans as it coils up.(1) And all of mankind's sorrows howl from the depth of a trumpet: Europe... you nickering ghost! Europe... wretched of the earth!(2)

But who or what rolls and rumbles over there in such an ear-splitting manner A listener's first impression may suggest the enchanted soundscape of a fatigued electronic soloist, but 1115 are a duo: FEHLER KUTI and GREY provide us with a sonic vision that can only emerge from the synthesis of two radical minds. Think of the meetings of Suicide, Yello or The KLF: A pop big bang of conceptual art and bodily music.

The fusion of FEHLER's onomatopoeic vocal tracks and GREY's bass/organ/808-drum machine elements create a unique and original work, an afrofuturistic Musique concrete, which could not be heavier in its psychedelic might. Totally hypnotised, we hear old instruments, lost along an ocean passage. Flutes, spinets and oboes propel themselves through the helium mist out of purgatory towards the light. People Get Ready.

The plot of this supposed instrumental music is, in short, a story of invisibility'(3) - and of how this invisibility, experienced as negation and extinction, is given a visually audible' expression through the invention of a new language.(4)

To be part of all the noise and anguish(5) these two phantasmal sound warlocks gulped(6) down several generations of collective experience across the Black Atlantic (7) to spew out something new: An acid bath(8) of gastric juices lends first contours to the invisible's negative exposures: A thrown-up group photo stretching multiple generations. This musical carcass begins to pulse, and interlinks with overtone choirs and the ephemeral angel dust of deported heavenly children. Thus a new language is born.

It is a way of speaking that resembles the description of a multi-layered(9) or even completely removed(10) graffiti. In fact, it is a description of the existence of humans(11), who live or have lived. Be it in the parallel world of Italian plantations, whose fruits are displayed in supermarkets such as Rewe, Lidl and Tengelmann. Be it in the jungle of Calais(12) . Be it in deportation and social isolation. The European Union, which opened and revealed itself to PoC(13) , does not appear to exist at all.

If we follow 1115(14) down their Underground Railroad(15) , a mythology that becomes more vivid with each station emerges, and takes on a cartographic form. A spatial sculpture made of music! FEHLER KUTI performs the role of the Invisible Stranger - without any use of language in the semantic sense - not in a dissimilar way to Caetano Veloso on Araçá Azul or Miles Davis, though different and novel. Once you understand that Miles Davis did nothing else but tell stories of racism and alienation throughout his career, will you then understand Post-Europe.

Post-Europe is therefore not only music, just as an opera(16) is not only music. Drawn into the deep through subtext and shiftwork, 1115 dive through a stream of electronic music alongside colleagues like Arca and Dean Blunt, Drexicya and Dopplereffekt, as well as Juan Atkins and Moritz von Oswald, Rahsaan Roland Kirk and Sun Ra. But the voices of the libretto belong to the non-musicians and non-artists, the erased and forgotten. The invisibles.

If we listen to the phonograph patiently while playing this music(17) , unheard sounds surface. In time, voices tear off, and become distinct. They say what they need to say. They let others speak. And suddenly there is a space... that unfolds, that speaks. Deep inside it, an ancient lament emerges, wrapped within the invisible words: What did I do to be so black and blue

1115 don't simply play on a stage in front of an audience. They absorb time and space!(18) Last December, they could be experienced at the legendary Alien-Disko-Festival at Munich Kammerspiele.

Post-Europe was produced by Markus Acher and Cico Beck (The Notwist, Joasihno). According to the rules of pop music, this record should not even exist.(19) The sirens are booming. The dance floor is ready. It's just getting started.

Text by Pico Be

If you're setting out on an epic voyage to the electronic disco universe, it pays to recruit an experienced pilot. When it comes to intergalactic musical fusion, few are quite as experienced as cosmic disco pioneer and noted dancefloor explorer Daniele Baldelli.

Produced alongside friend and regular studio partner Dario Piana, Zero Gravity cannily updates Baldelli's early '80s cosmic disco blueprint for the 21st century. We think that the EP contains some of his strongest music to date, with each of the three cuts offering subtle nods to the Italian maestro's original Cosmic Club ethos.

A-side Infinity Machine' expertly combines many of Baldelli's greatest musical inspirations into one mind-bending late night workout. Underpinned by a druggy, arpeggio style bassline, the track rises and falls through waves of funk-rock guitars, crunchy Clavinet lines and intertwined synthesizer solos. Throw in jammed-out electric pianos, and you have a near perfect fusion of cosmic disco and blazed funk-rock.

The producer's long-held love of African rhythms surfaces on If You Drive', where bold acid bass, ricocheting percussion hits and weightless chords combine beautifully with starry melody lines and vintage analogue synthesizer motifs. It's Afro-cosmic for the nu-disco generation.

A fine EP is completed by Air Lock', in which Baldelli and Piana pepper a rubbery, electrofunk-influenced groove with cascading synthesizer melodies, swirling pads and a swathe of fuzzy, eyes-closed guitar solos. It's bold and assertive, but also as otherworldly and stratospheric as you'd expect from a pioneer at the peak of his powers.

Official reissue of some ultra rare electro tracks produced by Anthony "Shake" Shakir. Raw Detroit electro with a nod to Miami bass!

HELIC.AL, the new label from Todd Sines + Charles Noel / Archetyp, functions as an constrained exercise to break from restrictions. Instead of the obvious new electronic dance music label that would be expected of these seasoned producers, HELIC.AL turns history on its ear, resulting in collaborations new and old. The debut album from Interval, featuring bassist Andries Boekelman, Sines on vocals, guitar, synths & engineering, Noel on drums and percussion, steps outside the comfort zone of endless tracks and overdubs from a digital workflow, tracked to 8-track tape, and mastered direct to lacquer by Josh Bonati, with no computers in between.

Future releases include Crash Course in Science's Michael Zodorozny and Todd Sines as I/TMSZ, Soviet's Amanda Berkowitz and Alyssa Barrera as Artefactos de Dolor, Möthersky, Excepter's SSPS & Gramma, and is in discussion for releases from Robert Görl of Deutsch Amerikanische Freundschaft, Graham Lewis of Wire, Dome and He Said, and Stephen Mallinder of Cabaret Voltaire / Wrangler, for a follow up to his seminal 1982 release, Pow Wow.

Two of Londons most exciting new producers join forces for a collaborative, self titled, 4 track EP.

A seriously heavy weight release featuring house, broken, hip hop and soul living harmonioulsy under one roof (as it always did).

As for the second release, the versatile newbeat can be, the versatile this release is.
It kicks off with kFactor. A Brazilian EBM-artist, bringing a strong sounding NewBeat track.
On the edge of military rhythms and cheezy acidlines, and an unmistakely ongoing beat.
VV303, also an EBM artist, give us more then just pure acid. 303's snorring and humping the dancefloor on fire.
Ascended Man is the pseudonim for Olivier Abbeloos, know from T99, Quadraphonia,... joins us on this release with a masterpeace. The track connects modern underground Electro with the strong and dark NewBeat. Another floorfiller.
"Washing the Machince" is the closing track, and a reference to the classic house sound of the Warehouse and other early Traxx, and still fresh and very NewBeat.
As the first release was a huge fresh improvement of todays dancemusic, this release makes the statement clear. FenixFireRecords is here to stay. NewBeat is here to stay.

Afrika Bambaataa, rapper, producer, DJ from the South Bronx, New York. Afrika Bambaataa is one of the originators of breakbeat djing and is respectfully known as "The Godfather of Zulu Nation" and "Amen Ra of Hip Hop Culture'. In 2007 has been nominated for induction into The Rock Hall Of Fame and in 2008 he has been honored by the Bronx Museum of Arts. Afrika Bambaataa's long career is pointed by many hits and masterpieces such as Reckless, Unity, Just Get Up and Dance and Pupunanny.
Countless collaborations with artists such as UB40, James Brown, Boy George, Leftfield just to name few of them. Afrika Bambaataa has recorded with many labels from Tommy Boy to Capitol Records and Profile but it is with the Italian Label DFC (Expanded Music) that he has releases most of his recordings.
Bring It Up is the new release on DFC LABEL produced by dj/producer Paul Carpenter. This release includes three versions in big room/EDM style along with a mega-mix and a full acapella collection of all previous recordings released by Bambaataa on DFC label. Two lyrics videos come to support the release.



[C}] a3 | Bring It Up (Down Mix)

Swedish born Christian Smith is sitting firmly at the top of the electronic dance music industry. His outstanding productions over the years have set the bench mark high, releasing on a collection of the industry's most respected labels such as Drumcode, Cocoon, Bedrock, Minus and his very own Tronic.
2016 has been a busy year so far for Christian, his Tronic label party series has been holding events worldwide, including the BPM Festival and Sonar OFF week, and an ever growing catalogue of releases not forgetting his most recent EP Force Majeure released in July on Drumcode which immediately entered Beatports Techno Top 10, straight in at No.8.
This September, Christian will release his third solo album titled Input-Output on his own Tronic imprint. Consisting of 11 original tracks, each one embodies Christians message of creating real techno, with powerful percussions and melodic basslines throughout. As the first album teaser, he released the first track Blast Off on the 25th July. This track is the definition of a techno builder, steadily rolling and pulsating its way through a rising synth blast that takes you high before dropping you back into the crispy percussive beat. You can expect the second set of exclusive tracks to be released on the 22nd August, with both Subzero (Club Mix) and Explanation.
Input/Output is an outstanding production offering some of the best driving techno you can expect from an artist like Christian, with his trademark style incorporated in every track.
It takes you on a journey, through a variation of sounds and textures, which still manage to cater to everyone's musical palate. Synthesizers work their way throughout, alongside dark atmospheric harmonies and haunting vocals or that pounding kick drum in some of the heavier tracks. It never disappoints!

Das Ding, the dutch wave savant, arrives on Pinkman with four works of full bodied synth sorrow. Freezing rain pelts rusting machinery, a barren land of decay stretches out onto dancefloors. Rasping rhythms and lumbering bass buttress bitter chords and grinding notes that compel bodies to move. And within the dereliction, behind the dilapidation and rot, burns a purity of expression that is emblematic of Danny Bosten's consistent quality.

At the beginning of the 1930s, the press magnate Dominique Willem Berretty still held power over the Dutch East Indies. From the very lowest rung, this teacher's son, born 1890, raised a media empire upon a single principle, 'Activity, Activity, Speed'. As a clarion call from the future, it heralded the construction of a new world, one where information was faster than light, where modernity would be celebrated by an ever firmer grip upon the accelerator pedal. But control of his press agency (baptised Aneta, for always number one in spite of everything), driven at full bore, would begin to slip away: politicians no less than his competitors, began to tire of his monopoly. In October 1932, as his empire was fading, he commissioned architect Wolff Schoenmaker to construct the palace of his dreams: the Villa Isola, north of Bandung. D.W. Berretty would have but several months to enjoy his art-deco pearl. On December 20 1934, bankrupt, he would fly to Europe aboard a DC-2 Uiver in order to sell Aneta to the highest bidder. But he was never to complete the voyage: the first flying machine equipped with automatic piloting would crash down upon the town of Ar Rutba in Iraq.

By tracing back through time and his memories (particularly those of a trip to Vietnam), Pilooski - who we've seen in duo as Discodeine and solo, in the Dirty Edits series - would end up pushing open he door to the Villa Isola: a vestibule leading to a double spiral staircase framing a marble pediment engraved with the words M'ISOLO E VIVO (I isolate myself, and live). On the first floor lay a grand semi-circular reception room opening onto French gardens. Before the windows, leather easy chairs arranged with maniac regularity about a round table. On the lid of a grand piano, a virgin in polished glass, and on the walls, oil renditions of Dutch canals jostled with jungle watercolours. One floor up in the constructivist bar, Berretty had installed a film projector. What would he have watched, cocktail in hand, alongside his guests Herbier's The Inhuman Woman, Murnau's Tabu, or Chaplin's City Lights. Who could tell

As a tribute to this projection room, Pilooski has imagined four original soundtracks owing as much to radio broadcasts for insomniacs as they do to recorded recitals for children. With Eden Ahbez's Eden's Island album in mind, he has called upon the following contributors:

Jarvis Cocker (Pulp) has chosen an extract from Carl Gustav Jung's The Red Book; Judah Warsky has written an homage to the sun and the moon ; Narumi Hérisson (Tristesse Contemporaine) reads a passage from Ango Sakaguchi's Sakura No Mori No Makaï No Shita; and writer Simon Liberati (Anthology of Apparitions, Jayne Mansfield 1967, Eva) a fragment from one his 113 Studies of Romantic Literature.

For four exotic and minimalist pieces of spoken word, over which Clément Froissart plays flute, Axel Lecourt, percussion and Julien Vichnievsky the guitar. Together, the pieces make up Isola, the new Pilooski EP.

Artwork : Laurent Fétis & Sarah Martinon

Nach seinem Auftritt auf der Compilation 'Chicken Accelerator'
liefert Sternrekorder Sternrekorder Sternrekorder Sternrekorder alias Martin Home mit - Weissensee' - Weissensee' - Weissensee' - Weissensee' seine
Debut-Mini-LP ab.
Mit seinen wunderschönen Melodien und Harmonien entführt uns der
Leipziger in die Ära der späten 70er und frühen 80er Jahre, als
elektronische Musik noch richtig verspielt und unschuldig war.

In gewisser Weise ein Triptychon: Jedenfalls scheint die künstlerische Entwicklung von Alejandro Ghersi, die mit seinem Debüt "Xen" 2014 begann und 2015 mit "Mutant" ihren Lauf nahm, 2017 durch die Veröffentlichung von "Arca" einen Abschluss gefunden zu haben. Das dritte Album des in Venezuela geborenen und in London lebenden Künstlers ist die erste Veröffentlichung auf dem britischen Indie-Label XL. Sie wurde von langen Spaziergängen über einen viktorianischen Friedhof im Abney Park inspiriert. Der Friedhof ist einer der größten Londons und ein Treffpunkt der Schwulenszene. Auf älteren Mixtapes hörte man Arca bereits rappen, nun hat er seinen Klangkosmos auch "offiziell" um die eigene Gesangsstimme erweitert. Darin dürfte auch der Grund zu sehen sein, warum Arca seinen dritten Langspieler nach sich selbst benannt hat. Schließlich ist dieser musikalisch und vor allem textlich extrem persönlich geworden. Spanisch ist die Sprache seiner Jugend und die Sprache, die ihn am meisten geprägt hat - im Positiven wie Negativen. Wie schon bei den beiden vorangegangen Werken stammt das Artwork von Jesse Kanda. Passenderweise geht das Cover weg von der digitalen Abstraktion, hin zum Portrait. Es zeigt den Künstler als verwundeten Matador mit mechanischen Beinen und hölzernem Korsett.

Colouroïd serves up a double dose of their signature up-tempo compositions. Each track features the clever fills, crystalline, catchy leads and gritty, singable baselines that have defined their sound since 2009. The lyrics take inspiration from terrifying obsessions and love-hate relationships.

We were very happy to be asked by Connaisseur
Recordings if they could put out another album with our
music! Now it's all come together and they've asked us to
do our own press release for it and quite like the album,
we want to do it in our own way, personal and from the
heart. It's been a few years since our last Connaisseur album, and
a lot has happened since. We've built a new studio,
matured musically, acquired new gear, sold old gear, done a
lot of gigs, lost faith in music and regained it again.
The process of making The Loneliest Man In Space (this
album) was a genuinely pleasant experience, as we never
really set out to make an album at all. We didn't
conceptualize or have any grandiose plans, we simply
enjoyed ourselves in the studio.
Inspiration was running high, so we focused on making a lot
of music uninterrupted, rather than signing tracks, which
left us with quite a bulk of unsigned material. The idea to
release these tracks as an album came from our friend
Alex, at Connaisseur. We instantly jumped on the idea,
listened through the material, taking some tracks out and
composing a few new ones, to make it sit more together as
a whole. We tried to come up with a title that would ft
the feeling of the sum of tracks and settled on The
Loneliest Man In Space. As the album, to our ears, sounds a
little melancholic and a little spacey.
We sincerely hope that you enjoy the album either as a
listening experience, a dance experience or something in
between!

Thank you, and much love!
Vegard & Chris // Of Norway

Vox Low come in hard, slow and dark on a new 3 tracker for Correspondant.
The Pyschedlic Parisian duo display various iterations of left field menace, ranging from Glam Rock on The Hunt', Electro Disco on Some Words of Faith, and pitched down Acid on I am a Strange Machine Sometimes', but all with the signature analogue pulse which Correspondant is famed for presenting.

Traffic009 by Bodin&Jacob. Always on point.

SmartBar resident Chrissy teams up w/Chicago-based vocalist Hawley in throwback to an earlier Smart Bar era w/12" mixes previewing their forthcoming full length. Full 80s representation. Classic electro-pop.

Californiabased producer Damon Bell could not find a more suitable home for his new 12' than Croatian label Burek. It's his first one since Blues For The Libyan' LP released in 2015. for Deepblak, and it sounds as if the time off was well spent. Two words that perfectly describe this record are rich' and colourful', and the description is equally applicable to all three cuts. Stand By Me' is a synthheavy piece built around the interplay between track's rougher sounds and big lush pads. On the flipside, Life' is slightly faster and more direct, with a wonderful guitar part that circles around the main theme throughout the most of the track. Similarly mannered, but slightly more intense TransAtlantic Journey We Been Here!' is the last piece and features an infectious groove with lead synth piercing through layers of delicate arpeggios playing in the background. All in all, it feels good to have Damon in the team. We hope you'll enjoy this record

The Omnibus Band was founded by Jarda Zajpt and Petr Dikan in 1979 in Czechoslovakia. Having met at the Electronic High School, electronics was their field of expertise. Over time, Petr Dikan constructed several sound devices such as the Šílený Fridrich (Å F, Crazy Frederick) Keyboard and the VSD (vÅ¡ude samý dráty/wires everywhere) Generator which he operated during the recordings and also at concerts. At that time, heavily influenced by Brian Eno and Robert Fripp from the King Crimson band, Jarda Zajpt played the guitars, using all kinds of effects, pre-recorded tapes, and one or more interconnected tape recorders. The first record, âIsraels,â was produced between 1980 and 1982. In 1985, Jarda Zajpt swapped a guitar for a keyboard and a new member arrived â Pavel Zvolenský - who programmed and played the automatic percussions. Martin Bauer, playing the bass guitar, completed the trio. They have produced a second album, ''Rhythmus,'' in this assembly. Remastered from unreleased tape recordings.

ov002: gaspard de la vega / gegenheimer & jenius
- paraguayo ep
ov006: fede zerdan - u 41 a ep

finally repressed

The 05 Poly 800 Loop EP was born in the name of the Dutch-Hungarian friendship when DJ Overdose collaborated with the Budapest based record label Dalmata Daniel, and Hungarian acts, S Olbricht & 12z. A wide range of styles release from dark and mid-tempo to hard-hitting electro. Just how we like it from mister Model Man. The EP also features two remixes both of which are complete reworks of the originals. S Olbricht (Farbwechsel, Opal Tapes, Lobster Theremin) transformed 'Path To Wrath' into a dark abstract techno wave that manages to end up light and romantic. Meanwhile 12z, the newest mascot of Nicolas Jaar's 'Other People' label have made an experimental symphony from 'Be(h)anger' and this pathos covers the whole essence of this EP. A promising start for the Dalmata Daniel label!

This new EP 'AMICALEMENT' was recorded two weeks ago and will be released for free next week on my website (www.oizo3000.com). I have no idea what this is exactly, and that's the point. Marilyn Manson is starring in my new feature film 'wrong cops'. we decided to record this retarded track together to celebrate our friendship. I'm working on a new Mr Oizo LP right now.' GER RECORDS Supporting Mr Oizo's career since 2007 we're happy to follow him wherever he wants to take us. Giving his music on internet, we're down with it. He is one of the latest real free artist in his genre. It's like working with Salvador Dali! He is living in his own world, follow his own rules, he is a tourist on planet earth. He is a genius and a legend for french electronic scene. This new record shows another side of his talent, going from classic banger with 'Solid' to modern hip hop with 'Waltz-e-more' maybe Kanye should have call Oizo too!

ANDREAS GEHM's 2nd EP on MATHEMATICS is getting repressed on colored vinyl as part of the label's 20th anniversary! "THIS IS VOODOO" is a eerie banger followed by the deep "ALL SOULS DAY". "THE RETURN OF RA" kicks up the dark acid while the title track is electro tech perfection. GEHM lives on!

Orestt is one of those talented producers with a sporadic discography that remains viciously underrated. On L'Age de Glace EP, the producer's first appearance on I'm a Cliché since the Moment of a Crisis compilation, we proudly present new material as well as a hard to find tune self-released by Orestt a decade ago.

Polytechnic Youth unleash this killer of a debut full length from Berlin based Brit, Mark VORDERHAUS. Previously the main guy behind earlier label faves 'Detox Twins', Minor Activity' is already being highly lauded from online blogs and early reviews and just recently, Andrew Weatherall has already added 2 ace cuts to his DJ set. There truly is no filler amongst the album's 10 cuts, which in Mark's own words reveal a 10 track slow dive into the sinuous distraction of love that is -however briefly or not- owned or desired by every breather to walk their years until dust. Simple movements in synthesis providing currency for this foray of dark electro pop' Whilst lyrically he admits to a fondness to -and a tip of the cap- in places, to Dylan Thomas, Henry Miller and William Wordsworth. Across the 10 tracks here, you're instantly drawn to that classic early Mute and Some Bizarre sound, Fad Gadget, Vince Clarke, early Soft Cell perhaps, but continued plays reveal not only the darker edge that Mark alludes to above, but a thoroughly modern, of it's time, set of gorgeously crafted melodies and a classy songwriting guile, not to mention being stacked top to bottom with potential dancefloor fillers...

Laurel Halo returns to Hyperdub for her third LP with a fresh approach and a new sound. Routed out of the electronic abstraction of 2015's In Situ - but with clear reference to 2012's sleeper-hit Quarantine - Dust is an album revolving around loose and languid songs, warped, sun-filled, melted and at times, heavy-hearted and obscure. Recorded over a period of two years, the writing process began at EMPAC in upstate New York in January 2015. With access to microphones, percussion, keys and a wide range of routings, Laurel spent days alone in the cavernous space, later inviting musicians Eli Keszler and Lafawndah to join her there. Those sessions would eventually become this album: a collection of breezy, broken songs, based on woody instrumentation, sub bass and restless, intricate electronics. Earnest songwriting meets with modal cut-up strategies, improvisational playing with higrade digital dust. Tactile and fibrous throughout the record, the vocals and percussion coalesce and breathe life into each other. Swung grooves eddy and collapse, acoustic drums are warped into sensual, febrile melodies. The lyrics are themselves bricolage, without a specific narrator or place in time. They slip in and out of view, something that is visualised in the album's inner panel. Extending the influence, the album opener 'Sun To Solar' is an adaptation of 'Servidão de Passagem' by Brazilian concrete poet Haroldo de Campos. In line with the album's sound, Dust is 'Laurel Halo' as a flexible cast of characters. Filled with dialogue, the album helms an interchangeable ensemble of vocalists and musicians, featuring vocals from Klein, Lafawndah, and Michael Salu, as well as musicians such as Eli Keszler, Craig Clouse ($hit and $hine), Julia Holter, Max D, Michael Beharie and Diamond Terrifier. Laurel's omnivorous influences play out in mutated fashion - coalesced, unfettered and inclusive - a broad musical palette free from entrenched modes, catalysed by digital production that could only happen in 2017.

QND Philosophy Records is proud to present the new vinyl E.P by Daniele Baldelli and Marco Dionigi with their own project Funkadiba.

Funkadiba "Irradia" is the first single anticipating the third Funkadiba album expected to be released in early 2017.

The duo ptoject formed by veteran cosmic disco originator Daniele Baldelli and his long time partner in crime Marco Dionigi produced this amazing 4 tracks full of solid Funky grooves, Spaced Out waves and Deep Electronic Vibes.

If you're in love with retro future sounds you really can't miss it !!

Forest Swords, aka acclaimed Merseyside-based producer Matthew Barnes, returns with his eagerly anticipated new full-length record.
Compassion", the follow-up to 2013's critically lauded debut Engravings', will be released on 5th May 2017 via Ninja Tune. The album will be followed by a set of projects across multiple mediums by Forest Swords' own Dense Truth, a new experimental studio and record label, including a series of music videos. Compassion" engages with an uncertain world we're experiencing, distilling it into a unique sound territory: Barnes' exploration of the mid-point between ecstasy and frustration, artificial and human feels timely and affecting. The result is an assured, compelling body of work, tying together the ancient and future: weaving swathes of buzzing digital textures, field recordings, clattering beats and distorted jazz sax with fizzing orchestral arrangements.
"Like many, with all that's been going on since I started making the record, I've struggled to see any kind of light at the end of the tunnel," says Barnes, "so I realised there's some sort of power in trying to create our own instead. I'm inspired by the ways we're communicating now, for better or worse, and thinking about new channels we can distribute ideas. The idea of looking for flexible future ways of expression and language, that bends to our needs quicker, really excites me'. Barnes launched the record with a unique experiment in new ways to disseminate music, personally sending album tracks through messaging app WhatsApp to anyone who asked.
The album shifts from 'The Highest Flood's skeletal bounce to 'Panic's claustrophobic paranoia, the rapturous hyperballad 'Arms Out' to the windswept and cinematic 'Knife Edge', navigating through the orchestral glitch of 'War It' to decaying jazz thump of 'Raw Language'. The album is equal parts disorienting and immersive, balancing bold sweeping gestures and crumbling textures, tracks seemingly disintegrating and reassembling at points across the album. Blending both digital and specially recorded brass, strings and vocals, Barnes's processing never truly makes it clear what's new or old, sampled or unique, constantly blurring and toying with the line between digital and acoustic.

There will also be a variety of multidisciplinary projects set to run through his Dense Truth umbrella over the coming year: collaborations across dance, performance, film and music. Previous Forest Swords projects include devising and scoring contemporary dance piece 'Shrine', composing for the 'Assassin's Creed' video game, collaborating with Massive Attack on their new music, and scoring the first movie made entirely with drones - 'In The Robot Skies' - which debuted at the BFI London Film Festival.

Central to this enthralling world is Compassion", an album that's as weighty as it is vulnerable, sculpting the most striking parts of his previous work into something that feels urgent and necessary, and cementing Barnes as one of the UK's most significant electronic artists and composers.

Compassion", the follow-up to 2013's critically lauded debut Engravings', will be released on 5th May 2017 via Ninja Tune. The album will be followed by a set of projects across multiple mediums by Forest Swords' own Dense Truth, a new experimental studio and record label, including a series of music videos.

Compassion" engages with an uncertain world we're experiencing, distilling it into a unique sound territory: Barnes' exploration of the mid-point between ecstasy and frustration, artificial and human feels timely and affecting. The result is an assured, compelling body of work, tying together the ancient and future: weaving swathes of buzzing digital textures, field recordings, clattering beats and distorted jazz sax with fizzing orchestral arrangements.

"Like many, with all that's been going on since I started making the record, I've struggled to see any kind of light at the end of the tunnel," says Barnes, "so I realised there's some sort of power in trying to create our own instead. I'm inspired by the ways we're communicating now, for better or worse, and thinking about new channels we can distribute ideas. The idea of looking for flexible future ways of expression and language, that bends to our needs quicker, really excites me'. Barnes launched the record with a unique experiment in new ways to disseminate music, personally sending album tracks through messaging app WhatsApp to anyone who asked.

The album shifts from 'The Highest Flood's skeletal bounce to 'Panic's claustrophobic paranoia, the rapturous hyperballad 'Arms Out' to the windswept and cinematic 'Knife Edge', navigating through the orchestral glitch of 'War It' to decaying jazz thump of 'Raw Language'. The album is equal parts disorienting and immersive, balancing bold sweeping gestures and crumbling textures, tracks seemingly disintegrating and reassembling at points across the album. Blending both digital and specially recorded brass, strings and vocals, Barnes's processing never truly makes it clear what's new or old, sampled or unique, constantly blurring and toying with the line between digital and acoustic.

There will also be a variety of multidisciplinary projects set to run through his Dense Truth umbrella over the coming year: collaborations across dance, performance, film and music. Previous Forest Swords projects include devising and scoring contemporary dance piece 'Shrine', composing for the 'Assassin's Creed' video game, collaborating with Massive Attack on their new music, and scoring the first movie made entirely with drones - 'In The Robot Skies' - which debuted at the BFI London Film Festival.

Central to this enthralling world is Compassion", an album that's as weighty as it is vulnerable, sculpting the most striking parts of his previous work into something that feels urgent and necessary, and cementing Barnes as one of the UK's most significant electronic artists and composers.

Lost Trax drops the first release of 2017 on Subwax label "Emotions Electric", 3 fiercesome Detroit tracks of the highest order. Limited copies...