House News

Effortlessly keeping alive an underground sensibility. Think Inner City meets YMO meets Blake Baxter meets I-F , something along those lines. Soulful house vibes, gritty propelling electro drum machines, and just the right amount of complexity!

now repressed as picture disc !!!

Real underground electro and techno from Los Angeles!

Limited an numbered with a great artwork. Dub techno house in the Berlin tradition... Hardwax lovers shall appreciate:)

incl. download code!

As the waning of the final winter moon comes to an end, Chapter 24 enters the world of wax with its first 12-inch release. For this next story in sound, we welcome back Kurt Baggaley, whose wonderful 'Winterland' also receives the attentions of Patlac and Petar Dundov with two immaculate Editions.

The EP has been in the hands of a chosen few since the summer, and has already been played by Âme, Solomun and H.O.S.H. at some of the world's biggest festivals. To be released on vinyl only, this package is one not to be missed.

An artist who lives and breathes electronic music culture, Kurt Baggaley has evolved his productions into a unique and personal sound since his early days as the Electro artist Scape One. Taking in influences from early 80's Chicago House, Detroit Techno and New York Club, with a fusion of Italo Disco, Euro Synth and Electro, his huge Former Self EP on SoHaSo in Spring 2015 was met with widespread acclaim on both digital and physical formats. Supported by the likes of Michael Mayer and Dixon, it was followed up with his debut release on Chapter 24 a few months later, opening the book with his Spiral EP.

Winterland continues this momentum. The title track blows in a cold, enveloping wind of analogue synths and drum machines, swirling around a central arpeggio. Disco, minimal and electro influences are clearly to be heard in what amounts to a unique and compelling piece of electronic music.

Patlac takes the reins for the first Edition. With original releases on liebe*detail and Soulfooled and remixes for Pets Recordings, Noir and Musik Gewinnt Freunde, his music possesses an empathy for time, people and place. Retaining some of the disco influence of the original, this sensitive and thoughtful approach results in an energetic Edition driven by pushing rhythms and deep, powerful grooves, but also with a refined sense of harmony and melody.

The final Edition on the package is a fitting one, from Croatian maestro Petar Dundov, who occupies the flip side. Dundov makes intelligent electronic music that breaks boundaries. His breathtaking take on the original embodies this ethos, hitting home with body twisting beats while also challenging the mind with complex melodies and slow-burning, hypnotic progressions. In his masterful hands, the track takes on life of its own, forever evolving and expanding and increasing in intensity.

With the Winterland EP, Chapter 24 turns the page on its first volume of releases, closing the Aesop's Fables artwork series with a stunning linocut portrayal of 'The Wolf and the Crane' from in-house artist Simon Vaeth. The lessons from Aesop will make way for those of the Tarot, as the Book of Changes continues to shine a light on the wintry path ahead.

Each purchase includes free digital download once shipped. Please email proof of purchase to label (at) chapter24records (dot) com

Peaches has assembled a killer line-up of producers to remix her latest album, Rub.
'Rub Remixed' features updates, reworks and club bangers from Maya Janes Coles Nocturnal Sunshine, CREEP's Lauren Flax, Paula Temple, Planningtorock, Austra's Maya Postepski and more.
Released on double vinyl and digital only, 'Rub Remixed' traverses acid techno, hard house, trap, deep electro, booty bass and future beats, bringing Peaches' original production and vocals front, centre and to dizzying new heights.
Peaches is a pioneer.' - The Guardian A smart inversion of the usual gender roles in mainstream music, all set to a propulsive, bass-heavy backdrop. Electrifying.' - Uncut Fierce, phenomenal, filthy and full of middle fingers to conventional thinking, stereotypes of femininity and gendered expectations... Peaches, the woman who just might save us all' - CBC (Canada) We've been incredibly excited for the record's release for a while now, and all of the killer features its had have really fleshed out what Rub is about.' Vice Noisey

"Walter Gas EP" from Marcos Coya is the first release of "Gas Grabaciones", vinyl-only label from the small south american country Uruguay.
Contains two original tracks and a blasting electro-techno remix from Argentinian artist Franco Cinelli aka Psynote.
Analog machines were used on making this tracks and an excelent mastering work, ensuring great sound at playing it. It's a 300 limited copies release, with cover art from uruguaian artist Carlos Paez Vilaro.

For SIL019 Silverback Recordings welcome Lisbon born, now London based producerPhotonz with the Corroios Royalty EP - an ode to Corroios, the suburb he grew up in.

The originals on the release, Parque da Liberdade and Casa do Povo, are colorful, 707 driven workouts, high on feel and melody. As one of the frontrunners of the new Portuguese house sound Photonz has been flexing a balance between the UK and the Continent way before it became a question of ZIP codes for him, and the EP's true to this intricate signature. On the flipside, Silverback staple The Phantom reinterprets Parque da Liberdade as an old school flavoured, meditation-tinged piano jam, while London heavyweight Ikonika injects the same track with a dose of her trademark retrofuturistic funky.

limited to 100 hand numbered copies with 350 gram sleeve (metallic ink impression) - hand signed inner sleeve with lyrics
From the spanish electronic darkwave duo SYNTHS VERSUS ME and after their first sold out' EP Demons' it arrives an ultralimited one-off pressing (100 copies) on 2×12' deluxe edition of their first album Auferstehung' including hand signed innersleeve with the lyrics. All tracks have been analogically remastered specially for this vinyl version. Including Devenir Gris, Jamelga!, The Tempest Of My Heart, Grey Skies, Demons, Rayas Blancas, Avatares Del Destino, Ciudadano, El Jardín del Edén, El Fin del Mundo, Dark Is On My Side and Tears Of Joy.

Ed DMX delivering some deeply rooted techno and acid tracks reminding of the heydays of Detroit Techno. The lighter side of Ed DMX on his duo release for this fresh label!

Playful energetic techno tracks rooted in the early Detroit tradition! (Note... not the the mid 90's loop techno/minimal techno version). This is the heavier gyro workout from Ed DMX on his duo release on Ride The Gyroscope. Both recommended!!!

Mikron are two English brothers, Michael & Ciaran Corcoran, living in Australia. Following on from their impressive No Correlation EP on The Hacker & Gesaffelstein's ZONE Records in 2014, Sleep Paralysis brings a level of darkness to the CPU roster we've not heard since the likes of Source Direct. Harsh, hard hitting electro bass similar to that of Black Narcissus, overdriven, tape saturated 808 beats, with raw robotic funk leads seemingly conversing throughout.

abgefahrene electroscheibe !!!

RSD 2016 - Limited RSD Release !
After the new album Still Waters' recently released, and sustained by the lively Back For More' and the captivating 2Good4Me", Breakbot is back with a limited edition EP of 4 Get Lost' remixes and one exclusive cover by the band Jamaica. Still with his sidekick Irfane, Breakbot is more than ever determined to make us dance with a new succession of hits each one more exciting than the last.

in stock again!!

new mixture - a bit synthy-infected discohouse

Ein waschechter KOMPAKT-Klassiker seit dem bahnbrechenden 2002er Album - Was Ist Musik', hat JUSTUS KÖHNCKE noch nie sein Publikum enttäuscht, wie schon ein schneller Blick in das vor Tracklegenden nur so strotzende Repertoire zeigt. Das Köhncke'sche Referenznetz, gesponnen aus exquisitem House, tiefer Disco und zeitgenössischen Schrauber-Ästhetiken, greift besonders deutlich auf dem mythischen 2004er Club-Hit TIMECODE, jetzt neu aufgelegt mit beeindruckenden Remixen von TYREE COOPER und AXEL BOMAN.

JACKTONE RECORDS is pleased to announce our 13th release: a 12" from seasoned San Francisco psychedelic house producer, Roche.

Roche showcases that he is at the top of his game, crafting absorbing sun-kissed leftfield house/techno that gets inside your head with its beautiful hazy melodies, supported by creative and layered drum programming. A deep haze of hardware/digi psychedelia glues the project together, pressing the listener to play the tracks one more time.

LAIDBACK LUKE Feat JONATHAN MENDELSOHN - Till Tonight.

SWEDISH HOUSE MAFIA Feat PHARRELL - On....picture disc !!!!

The Verwunschen Ep got influenced by many Deep House music, Tech House, but also by Electronic Underground Music, which was not made for the club. A Mixture of this and organic instruments, which are typical for his music, made the music warm and melancholic, but the cutted Vocals brought a little clubby Atmosphere in the track. In the Bonus Track "Bosporus" you hear the Influence of Berlin Tech House music. Trumpets were very popular at that time in berlin. The track was only made for the club. Remixes from Marlon Hoffstadt and Matthias Kick were organised, who did their own interpretation and showed some other sides of the song.

Killers from Bristol. Recommended.
Support from Ben UFO, Bake, Semtek, Throwing Shade.

Killer deep spaced out electro tracks!!! Over 20 years ago Shad T. Scott and his pal Seven set up Isophlux Records, Miami's infamous first electronic imprint releasing, as they put 'techno, electro, funk, experimental, and anything good'. Now in year 2016, Shad under his Gosub alias releases this Sunday At Battle Ship Key titled EP for Barba Records, staying true to that initial principle. Its far away from just being good though, its beautiful and warm electronic music at its best, oozing chill and feel good moods. Original two tracks are accompanied with a remix by second time appearing on Barba - JTC aka Tadd Mullinix who this time nicely surprised us with his ol' school NY style house beauty. Overall one fine classic record this, period.

YUYAY Records advances to physical goods: The six track EP "Endomorphism" by Sophus Y. Lie is the imprint's first vinyl record being released. Shining light on a melancholic side of electro, the exceptional and uncommon sound design invites you to settle down and take your time listening. And yet, your endorphins will jump.

Electro Beats - die geballte Ladung an Electro House Tracks auf
2 CDs mit insgesamt 35 Titeln zum reduzierten Preis!

The unique and barnstorming trio from Paris dOP are back on the home turf of Circus Company with killer new single 'Close Up' including remixes from Catz'n Dogz, San Proper. Combining a dynamic groove with JAW's unmistakable sultry drawl and a dreamy soundscape of deep chords and warm pads, the original mix is an addictive slice of vivid vocal house. Catz'n Dogz add more thump with their remix and take the track to the darker recesses of the rave, while in the second remix, San Proper bestows his eclectic style by heightening the dream factor in a spaced out intro before building into the groove against a fresh soundwall of bleeps and oddities. dOP is three vibrant personalities with the musical abilities to express themselves in the most unique and human of ways in an age where computertronics prevail. Making an indelible mark with their flamboyant style of house on labels such as Eklo, Supplement Facts and of course Circus Company home to debut album 'Greatest Hits', 6 years on, dOP are still basking in the art of live electronic performance and irresistible songs laced with charisma and aimed at the stronghearted, hotheaded dancefloor. o+o Polish wonder duo Catz'n Dogz (formerly 3 Channels) have fully established themselves as global scale artists with their own imprint Pets Recordings, energetic sets and string of big releases on labels such as Dirtybird and Get Physical plus two studio albums on Mothership. o+o+ San Proper has been a heavyweight on the Amsterdam club scene for the past fifteen years, spinning or playing live at all the major clubs and festivals as well as smaller, more dodgy underground locations.

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

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

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

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

Notes on the songs:

Side A

1. American Drift ft. Money Allah

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

2. Axacan

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

Side B

3. Petrichrist

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

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

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

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

REPRESS BACK IN STOCK

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 2014 version will rock the dancefloors worldwide !

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

LIMITED (1000 COPIES) 10YEARS EDITION WITH CD

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Hans-Joachim Roedelius, Onnen Bock und Armin Metz sind Qluster, die inzwischen dritte Inkarnation eines Musikprojekts, das 1969 von Roedelius, Dieter Moebius und Conrad Schnitzler unter dem Namen Kluster ins Leben gerufen worden war und 1970 zwei Meilensteinsteine elektronischer Musik schuf. 1972 verließ Schnitzler die Band, woraufhin Roedelius und Moebius als Cluster weitermachten. Nach der Auflösung des Duos in 2010 hielt Roedelius zunächst mit dem Keyboarder und Elektronikmusiker Onnen Bock unter dem Namen Qluster das bewährte Konzept aufrecht. Seit 2013 sind Qluster wieder ein Trio: Mit Armin Metz stieß ein Musiker dazu, der als experimentierfreudiger und virtuoser Bassist bekannt ist, bei Qluster aber vor allem Tasteninstrumente spielt. "Echtzeit" ist Qlusters sechstes Album. Nach dem reinen Piano-Werk "Tasten" (2015) widmen sich Qluster hierauf wieder verstärkt ihrem elektronischen Equipment, wobei Roedelius' Lieblingsinstrument, der Flügel, auch zu seinem Recht kommt. Trotz der hohen Experimentierfreudigkeit ist das Wort Experimentalmusik fehl am Platz. Dissonanzen, Geräusche oder Glitch-Sounds fehlen weitgehend - "Echtzeit" ist durchgängig harmonischer und zugänglicher als die elektronischen Vorgänger-Alben. Vielleicht liegt es daran, dass die meisten Stücke in einer Kirche aufgenommen wurden.

Schnell vergisst man, dass Rival Consoles das erste Signing auf Erased Tapes war. Mit einer Handvoll
Demos inspirierte Ryan Lee West einst Robert Raths im Februar 2007 zur Label-Gründung. Nun erscheint
das neue Album des in London lebenden Produzenten. Es trägt den Namen "Howl". Die neun Tracks des
Albums erforschen ein weites Spektrum an Emotionen, das von dissonanten Eruptionen und ursprünglichen
Rhythmen im Titelstück bis zu schwermütigen Improvisationen in "3 Laments" reicht. "Howl" entstand über
einen Zeitraum von mehreren Jahren hinweg und ist inspiriert durch Improvisationen mit Synthesizern,
Erfahrungen aus Liveauftritten mit einigen von Wests musikalischen Helden, das Spielen mit Feedback,
Samples mit der eigenen Stimme und Aufnahmen von Geräuschtexturen verschiedener Länder. Daher
enthält das Album auch viel selbst produziertes Material. Für West hat das Musizieren höchste Priorität
(selbst wenn nur das Einspielen redundanter Klatschgeräusche gefragt ist), da es für kreative Pfade sorgt, die
über das Abspielen von konservierten Samples per Knopfdruck verschlossen bleiben. Das verleiht "Howl"
einen sehr persönlicheren Anstrich, der durch eine dunklere Auswahl an Klängen geprägt ist.

Vinyl Only!

Another mysterious release from the dark vaults. This time featuring June, Beta Evers and SSRI!

Na, mit Kaytronik hat sich das Label R2 aber mal einen dicken Fisch geangelt. Kaytronik ist gewissermaßen das Alter Ego von Kris Klayton aka Karizma. Der 1970 in Baltimore, Maryland, geborene Produzent und DJ ist bekannt für eine große Bandbreite vielfältiger Veröffentlichungen, die von Deep House und Techno über Jazz bis Hip-Hop und Broken Beats reichen. Stilistische Grenzen sind nicht so sein Ding, Hauptsache das Ganze hat Groove. Sein Alias Kaytronik hat sich Klayton bislang für Remix-Arbeiten fremder und ausgesuchter eigener Produktionen reserviert. Dieses gestatte ihm größere musikalische Freiheiten, wie er selbst betont, und dadurch mehr Ausdrucksstärke und Leidenschaft. Dass die Ergebnisse dennoch eine eindeutige künstlerische Handschrift tragen und von einer berührend-emotionalen Klammer gehalten werden, stellt "Thee Album" unter Beweis. Hierauf erkundet Kaytronik zwischen laszivem Feierabend-Downbeat und Peaktime-Dancefloor-Brett den ganzen Reichtum elektronischer Klangwelten. Kategorisieren lässt sich das Album nicht, aber es klingt famos.

limited to 200 copies !

Der Berliner Musiker Klaus Schulze ist einer der bedeutendsten Elektronik-Künstler Deutschlands. Bevor er 1972 seine Solokarriere mit "Irrlicht" startete, war Schulze Schlagzeuger bei der Krautrockband Tangerine Dream. Sein Debüt trug den Untertitel "Quadrophonische Symphonie für Orchester und E-Maschinen". Und tatsächlich sind bei den Stücken auch Orchesterklänge zu hören. Heute weiß man, dass diese vom Colloquium Musica Orchester stammen, einem richtigen klassischen Orchester. Für die Erstveröffentlichung musste sich Schulze einst verpflichten, den Orchesternamen geheim zu halten. Er war einfach zu einer derer Proben gegangen, hatte 30 Minuten mitgeschnitten und dann die Aufnahmen für seine Tracks verfremdet. Wie Schulze anlässlich des Re-Release berichtete, hat "Irrlicht" mehr mit der Musique concrète zu tun als mit heutiger Elektronik. "Ich hatte damals auch noch keinen Synthesizer", so Schulze. Und weiter: "Ich besaß einen defekten Verstärker, den ich kurzgeschlossen hatte, und der auch nur diese eine Platte durchgehalten hat. Wenn man den Volumen-Regler aufdrehte, machte er ein internes Feedback, einen Sinus, und mit dem Tremelo habe ich ihn zwitschern lassen. An den Rückkopplungen ist er kaputtgegangen. Auch die Orgel hatte ich modifiziert, damit sie nicht nach einer normalen Orgel klang."

After two releases on Music Control (the label of italo-disco pioneer Casco) and Cocktail D'Amore (run by Berlin's hottest duo Discodromo) Miss Plug Inn is back with a new EP! The original track is a 100% analogue groovy machine, where Miss Plug Inn's vocals team up with a driving Juno 106 bassline that moves between multiple layers of synths. The italian glam duo Hard Ton (Permanent Vacation, ToyTonics-Gomma, Gigolo) turn the original into a late 80's Chicago affair, with catchy strings, 303 arpeggio and Mr. Ton's unique falsetto grooving up all together. Italian synths wizard Massimiliano Pagliara (Live At Robert Johnson) and Brazilian producer Rotciv (Luv Shack), under their moniker The Rimshooters, deliver a dub version that brings the original track to a more seedy and smoky club atmosphere. Last but not least a melancholic German cover version by the mysterious duo Clima: the perfect closing act to this flamboyant single! Limited supplies!

Limited white label 12' of Shit Robot's 'End Of The Trail' featuring Alexis Taylor (Hot Chip) on vocals b/w the instrumental mix and a killer Roman Flugel remix.

Two nice house cuts from Andre Lodemann on Innervisions.

Rotterdam strikes again! Machinegewehr's debut release with the gorgeous vocals of Gees Voorhees. Elitechnique delivers a very nice remix to complete the A side. On the flipside we have the golden combination of A Visitor From Another Meaning (aka Alden Tyrell) and the legendary Fred Ventura with a rework on the lyrics and the beat. A huge release with a big package of artists and a nice picture cover shot by Bordello's in house photographer Eric Gonzalez. Limited supplies!

The illustrious duo Doms & Deykers debuts on 3024 with this three song "Fonts for the People" EP!

FULGEANCE drops his own vision of club funk and future beats. 4 original tracks that prove FULGEANCE has no limit in sound. From dreamy vocoder poetry to broken dance moves, this EP is complete. Even more with 2 remixes from CLAUDE (Fulgeance bipolarity project) this one is for the 4/4 DJs DOLLKRAUT the new sensation from Amsterdam, analogue sound wizard as they're calling him.

GRAZE minerals possess a superlative lustre, which is most notably seen in diamond. Such frequencies are transparent or translucent in nature, and have a high refractive index . Tones with a true adamantine lustre are uncommon, with examples being cerussite and zircon.

MWeapon minerals display luminous bass bands, which appear to move as the specimen is rotated. Such frequencies are composed of parallel fibers, which reflect sound into a direction perpendicular to their orientation, thus forming narrow bands of light. The most famous examples are FM and subtractive, but the effect may also occur in other sound banding - such aquamarine, moonstone and tourmaline.

Scrap minerals consist of thin transparent co-planar sheets. Light reflecting from these layers give them a lustre reminiscent of pearls. Such minerals possess perfect cleavage, with examples including muscovite and moss opal.

Limited 250 Copies vinyl
Techno Pop from the Woods of Sweden. Dark, dreamy and danceable. Electronic sounds of drum machines, mellotron, synthesizers, floating and barren landscapes together with the characteristic vocal harmonies of producer duo LOKATT. Techno tracks influenced by sisters Nina & Johanna Piroths background in the Indie Pop Scene. In May LOKATT released their first single The Hill, which got great feedback from all around the world. The 27th of November LOKATT will be releasing their debut EP, Karg (digital and on limited vinyl). The EP will be released on techno producer Harald Björks label Kranglan Broadcast together with LOKATTs label Oma Gusti Records. Distributed by Wordandsound, Artwork by Stina Göthlander.

There isn't much around about Metropolitan Soul Museum...,..yet, dropping on the eponymous label's first release. The 2 sided vinyl only release features 'Ruff Trk 4' - a stomping and rolling club destroyer: a ruff (as the title suggests) disco inspired 4/4 beat, driven by a powerful and hypnotic bassline. On the B side Hivern Discs man 'Round' drops his own version of the original, mixing his outstanding talent for melodies with a Nu Disco analogue groove. After being featured on John Talabot's 2013 DJ Kicks, the producer is going from strength to strength and has delivered a killer re-interpretation of the original track.

Der in Hamburg und Bremen lebende Bildende Künstler und Musiker Ulli Bomans ist mit einem außerordentlichen kreativen Ausdruckswillen gesegnet. Die Liste an Ausstellungen, Performances, Veröffentlichungen und Kollaborationen lässt sich kaum in knappe Worte fassen. Zum Verständnis von "Sort By Dragging" ist es jedoch interessant zu wissen, dass Bomanns zum einen unter dem Alias Schieres mit Hilfe diverser Styles ein musikalisch schillerndes Panoptikum erschaffen hat, und dass zum anderen "Sort By Dragging" auf Shitkatapult erscheint, dem Label von Apparat und T.Raumschmiere, und damit der Nachfolger des Autorenalbums "Riven" (2014) ist. Das ist nicht die einzige nennenswerte Verbindung, denn mit Marco Haas aka T.Raumschmiere besteht seit 1995 eine enge freundschaftliche und musikalische Beziehung. Als Shrubbn!! haben die beiden schon zahlreiche experimentelle und kompromisslose Techno-Tracks in die Umlaufbahn geschossen. Auf "Sort By Dragging" entführt Bomanns den Hörer in eine fremdartige, düsterglimmende Parallelwelt, die irgendwo zwischen Fritz Langs "Metropolis" und dem verfallenden Detroit angesiedelt ist. Hier bestimmen klare Beats, Noise-Wände und Loops das weitgehend melodiefreie, dafür jedoch sehr rhythmische Geschehen. Techno der anspruchsvollsten Art.

the second breaker!! white vinyl!!

- Dieser magische Moment... Genau darum geht es.'
(Anthony Rother über Verbalizer)

Kein Platz für lähmende Gedanken. Stattdessen gibt es nur noch Musik. Der Körper gehorcht allein dem durch den Raum ulsierenden Bass. Das ist es, wovon Raver sprechen, wenn sie erklären, was ihnen synthetische Club-Musik bedeutet.
Und genau darum dreht sich auch Verbalizer, das nun erscheinende Album von Anthony Rother, auf seinem neuen Label Nextdata.

Der Club als abstrakter Raum. Es geht um das Loslassen. Menschen machen sich frei, begegnen einander
und die Musik wird zum gemeinsamen Taktgeber.

Irgendwann nennt Rother diesen Prozess - die Dramaturgie der Ekstase', kann sich dabei aber das Grinsen
nicht verkneifen. - Die Leute sollen mit Verbalizer einfach ihren Spaß haben. Ich stand im Club und fühlte
plötzlich den Sound für dieses Album.

Verbalizer treibt im Raum nach vorn, ohne ins Intellektuelle abzugleiten. Es ist die Geschichte, der Augenblick und das anbrechende Abenteuer einer tanzenden Gesellschaft, irgendwo auf dieser Welt.
- Ich war auf der Suche nach einem expandierenden Klang. Dabei war wichtig, wie ich diesen Sound den Synthesizern in meinem Studio entlocke, so dass dabei eine Kraft entsteht, die alles Weltliche und den Alltag beiseite zu drücken vermag', erklärt Rother den hedonistischen Ansatz von Verbalizer.

Club-Tracks wie diese kommen ihrem Wesen nach ohne erzählerische Inhalte aus. Dennoch sorgen sie
beim Hörer für das Durchleben - oder besser für das Durchtanzen - ihrer ganz eigenen Geschichte. - Einige meiner vorherigen Alben haben ein komplex durchdachtes Konzept. Verbalizer wechselt
dagegen vollkommen die Perspektive: Der Inhalt und was sich aus dem Album ergibt liegt im Körperlichen, dem unaussprechlichen.'
Um es also kurz zu machen: Verbalizer - um zu verstehen, sollte
man das Album feiern.

Wolf & Lamb Black Series 12" edits of Doug Hream Blunt, Ariel Pink, Nick Cave, and Ashrae Fax.

3 x DJ Mixes mixed by Nervo, Nicky Night Time and Madeaux - over 70 of the biggest tracks form the world of dance music.

Miami's ever growing reputation as a central power in pioneering electronic music stateside has been further enhanced in recent years by the advent, and subsequent popularisation, of the Winter Music Festival, now firmly established as the leading electronic music festival in the world for the whole spectrum of sub-genres.

To mark this occasion, Cr2 return with their critically acclaimed annual Miami compilation showcasing three flawlessly mixed and deeply dug mixes from Nervo, Nicky Night Time and Madeaux. Curating CD1, after taking a break from packing out arena's and collaborating with the likes of Kylie Minogue and Nile Rogers on their latest single 'The Other Boys', Australian duo Nervo bring together a eclectic mix of contemporary electronic music and main room progressive House for their flawless mix.

A fellow Australian, Nicky Night Time showcases his flair for cultivating an atmosphere in his mixes, featuring contemporary essentials from Bicep, Catz & Dogz and Tensnake alongside the classic sounds from familiar classic artists, Nicky creates the ideal contrast to the thundering mix provided by his fellow countryman.

Finally, introducing Fools Gold new blood Madeaux, he packs the heat direct from the club with a selection rich in rapid, cross-genre electronic tracks from some of the most exciting underground producers from across around the globe.

With three contrasting mixes representing all corners of electronic music in 2016, Cr2's Miami 2016 once again confirms it's status as the definitive house music compilation to soundtrack the Winter Music Festival in Miami.







































[ZK] CD3-04. Valy Mo - [Redemption] (Rare Remix)

From the liner notes: "Stepping into the Silence, this is literary music, epic little bouts of brilliance. That expands and stretches across what you might call instant reality, the lining or other side of the cosmic blanket where ordinary yet extraordinary people live, it swings and is balanced, it knows where to stop and begin again. It Bees and it Bops, it is and isn't at the same time, but the main thing is they don't scream -- not that the scream and the shout are bad. It's that you have to play inside your destiny rather than a musical style. It's all about playing free instead of asking others for freedom, so I celebrate Drake, Shipp, and Walerian for choosing life over music. Choosing intuition over tradition." - William Parker

2016 marks the return of wildly surrealist experimental hip-hop group Curse Ov Dialect, back after a 7 year hiatus with a brand new socially concious, zonked-out album called Twisted Strangers, the follow-up to 2009's critically acclaimed Crisis Tales.

Renowned for their non-conformist costumery and political ethos the enigmatic Australian group has garnered a strong worldwide cult following. Twisted Strangers includes guest appearances from Hemlock Ernst (Samuel T. Herring from Future Islands), Curse's Japanese ambassador Kaigen and Stormtrap from Palestine's Ramallah Underground.

Twisted Strangers sees them continue further down their own uniqe musical path, revelling in the openness of their eclectic sample concoctions paired with hard but twisted beats. The conventions of hip-hop are used as a foundation to build a unique voice that broaches no comparisons.

Atsusaku is the collaborative output of Gareth Davis (Oiseaux Tempete, Scanner, Elliott Sharp, Machinefabriek etc) and Japanese noise mastermind Masami Akita aka Merzbow. A massive wall of sound over two tracks that moves from the shifting low-end structures and the ricochet of howling reeds to the blistering haze of dense white noise and rapid-fire electronic tones. The title Atsusaku, suggests pressure or mechanical compression and it was from this starting point, the idea of Davis' reed sound being compressed and constrained by the saturation of Akita's textures, that the album was born. The acoustic sound almost suffocated beneath the sweep of sonic overload, but through limitation and pushing the mechanics of the instrument itself, finding a space to cut through with layers of self-distorted screams. Haihan, a furiously abusive maelstrom of coloured-noise, digital cross-fire and distorted bass clarinet is unrelenting as it searches for moments of pulse within the haze only to move abruptly back into the mechanical barrage of looping textures. Kyouhan is is far more open in its texture, the low-end layers of reeds moving across the sound space as the squall of chirps and mechanical screeches build slowly into a dense mass of reverberated pointillist details.

Artwork is by Rutger Zuydervelt and mastering by Jos Smolders.

was für ein sampler

Philadelphia native and arch noise provocateur M Ax Noi Mach, aka Robert Francisco, releases On The Edge; his first full-length LP in six years after 2010's In the Shadows.

Recorded once again with the help of Arthur Rizk (Prurient, Power Trip, Cold World, etc) at Salomons Gate in 2014, this new record chronicles some of M Ax Noi Mach's heaviest, most intense recordings to date; their minimal, bare immediacy comes from primal desires brought to a boiling point in the US city he calls his home.

'M Ax Noi Mach has always been a primal endeavour,' Francisco told Noisey in an interview last year, 'and it definitely comes from a private place. I've always had a fire inside of me; I've always had a feeling that I've had to release. Pure intuition. Pure rage, the animal let out of the cage.'

Musical touchstones on this 8-track album move from Nurse With Wound through Prurient and SPK. It's an unholy, clamorous din spewed up from the bowels of hell. It's the industrial trepanning of your psyche. The crunchy distortion of 'Walking at Night', album highlight 'Second Glance' and 'Indulgence', deal in anguished, hateful vocals - with words spat out like flames of fury. Then there's the relentlessly abrasive drone of 'Surrounded', the muted, glossolalia-like mutterings of 'American Child' and the warped synth poetics of 'White Heat'; all in all, a visceral, brutal record that absolutely refuses to let up.

The shadowy Robert Francisco has been a vital artist in the US underground since the late 1990s. He has done time in the power electronics unit Angeldust as well as Veiled (with Arnau Sala of Exoteric Continent and the Anomia label.)

But M Ax Noi Mach is the nexus of his poetic, visual, and sonic pursuits: his discography stretches back to 1999 and his immensely powerful live show has gained the project legendary status in electronic music circles across Europe and the US. The defining principle of M Ax Noi Mach's sound is that it has resisted easy genre categorisation, remaining a singular rock through waves of American underground culture; in it, the shattered pieces of several strategies of urban, extreme musics cohere in a way that only Francisco can envision.

Modelbau is one of the many names Frans de Waard (Kapotte Muziek, Goem, Wieman, Freiband, etc) uses for his music. Moving Furniture Records is proud to release the first proper CD by this project after many tape releases and a couple of CD-R's.

Frans de Waard in his own words about Four Squared Wheel: Somewhere in 2012 I had the idea that it was time for that all needed change, having played around with laptops for a decade or so. Actually it was something that was in the air for some time, as I already used cassettes in my work with Kapotte Muziek and in some of my solo concerts. With Modelbau (and yes, that is a deliberate misspelling of the word) I set a few parameters, such as using many cassettes, small synthesizers, little to no laptop and recorded as much 'live' as possible, plus to do only digital releases. Some of that still goes, but the digital releases only went out of the window pretty quickly. In 2012 I played a concert as Modelbau, carefully planned into a fifteen-minute composition and released the first (digital) album. Other work came along and I didn't do much again as Modelbau, until in June 2014 I got various offers for solo concerts and while preparing those, I had a bunch of material recorded, which was released by various labels on cassette (Barreuh Records, Lichtung). During one of these rehearsal/recording sessions I picked up some guitar effect, which was in my way and thought it would be good to use that also in the set-up. Since then the palette seems to be complete; while preparing for concerts I record everything and select pieces from that to be released, with little to no change, save for doing a better beginning or ending when needed. In that respect the almost one hour long 'Four Squared Wheel' is a bit of a different work. It wasn't recorded as part of a rehearsal, but rather in a more elaborate set-up in my studio, using my Philicordia organ, a microphone, guitar amplifier, guitar effects, mixing various signals on the spot into this piece, while retaining that 'live' feeling. It has four distinct parts with considerable gaps of silence in between. They are intended to stay as such. 'Four Squared Wheel' is the most drone based/ambient recording by Modelbau to date, and not something that would be easily re-created in a live situation. As such it is quite a unique work.

Orphax is the Amsterdam based musician Sietse van who has been active with music since 1998. Time Waves is his second proper CD release after 34 CD-R, Tape, DVD-R and download releases and various compilation contributions and remixes.

ABOUT TIME WAVES
On December 8th I performed at the famous Bimhuis in Amsterdam in a special evening organised by STEIM where I shared the stage with Yannick Franck and Thomas Köner. My performance got recorded and this was the starting point for Time Waves. In addition I did a live recording at home which I mixed and edited into one piece with the first recording. The result is the work on Time Waves.

The inspiration for this work goes back to my time as geology student where I learned a lot about the various eon's, eras and period's, epoch's, ages and what's more used to describe time on the geologic scale. While at one side it was always different on the other somethings never changed. The music you hear on this album is an exploration for the natural flow of sound. As if sound is like the geologic time it slowly floats on with layers coming and going without revealing what is next in a randomly fashion. The transgressions, the waves, billowing over each other, on a tranquil pace. Only the occasional unexpected change seems to break the slow transitions.

Though, if geologic time is too abstract for you, you can also just think of cat hair, just like you see in the pictures in this artwork.

Hard to pin down, harder to hold onto; bent circuit board snake charmers unfurl across hexagonal grids. A seemingly familiar sound, but then you realize you have your ear pressed against a reflection.

Sunwatchers are a distorted prism to so many past greats: reminiscent of Ethiopiques, John Handy Band, Terry Riley, Art Ensemble meets Laddio Bolocko. Forever-swirling saxophone blended belly-to-belly with elastic guitar and tinfoil-thin phin (a Thai instrument not unlike an electrified tenor guitar or sitar); a whirlpool of repetitious interpretations; militaristic marches ascend into meditations. These songs map out great pyramids and deep, buried labyrinths; they are massive, they are leviathans.

The band is comprised of NYC improv heavy hitters—Jim McHugh (guitar, electric phin), Peter Kerlin (bass), Jeff Tobias (alto sax), Cory Bracken (vibes, percussion), Jason Robira (drums)—and sitting in are Dave Harrington (guitar, synth), Ben Greenberg (guitar), Dave Kadden (keyboard), Jonah Rapino (fiddle). Notable previous projects include Dark Meat, Arthur Doyle's New Quiet Screamers, NYMPH and Chris Forsyth's Solar Motel Band. Amazing cover painting of Handsome Jimmy Valiant by artist Scott Lenhardt—a strange but somehow sensible match made in heaven. Dream machinery, just plain far out. Look for traces of this one in your brain jelly afterwards.

Electro Deep Selection is the new dedicated to a sophisticated sound and refined series. The flagship aims to be the first CD devoted exclusively to the strongest songs in the deep landscape in which we find the likes of FEDER caliber LOST FREQUENCIES, both topped the world rankings in the industry. The second CD is a collection of electro-house tracks dedicated to djs "club oriented."

Arriving like the mysterious fully formed monoliths in Stanley Kubrick's 2001: A Space Odyssey is the new album from Warsaw, Poland based artist Aleksandra Grünholz aka WE WILL FAIL. Despite the fact this isn't her debut (that was 2014's "Verstorung" also for Monotype Rec.), this new double barreled shotgun of an album entitled "Hand That Heals / Hand That Bites" rings with the boldest sense of arrival you could possibly imagine. With a unique sound that is neither electronic, noise nor experimental but a unique off-cut of the three assembled into a style all her own, Grünholz's sound runs parallel to artists like Scott Walker, Autechre, Pharmakon, Daphne Oram, Pansonic, Grouper, Laurel Halo, Demdike Stare, Vessel and beyond.

Both dark and anxious, the seven "Hand That Bites" tracks follow the blood reds of its cover art, deeply rhythmic, pulsing, energetic and brimming with the intensity of an artist who has clearly arrived at an important place. Aleksandra notes "This part is ruder, more brutal, stronger, but at the same time more basic. The pulse, the harshness and the anxiety were really important to me. I know that some sounds are even dull. I left some parts dirty, raw. I wanted to show the strength that can seduce and mesmerize at the same time." The rhythms here have some associations with Techno and club music, but for the artist this is music for listening rather than dancing. Like Emptyset and other sonic explorers Techno elements embedded are merely part of the construction - a sound reaching beyond any kind of norm.

The companion eight tracks, an alternative version of the same story according to Aleksandra, make up the "Hand That Heals" segment of the album. Again like its artwork, these tracks are lighter in touch, focused on atmosphere and experiments yet equally compelling and unique. Grünholz notes "I wanted one part to be more subtle with rich sound that was intricately constructed. I was concerned to make compositions that are really refined, full of details, so that each listening would allow listeners to find something new. There was some room for field recordings. I intentionally have chosen recordings of common situations - overheard conversation, some sounds recorded during travels - that in the same time are notations of specific memories." Being a visual artist as well as a sound artist Grünholz works in ways that can sometimes be conceptual: "The title/s were created before work on the album started - Hand that Heals / Hand that Bites - it was an irrational string of thoughts in my head for a long time - two inseparable elements that somehow make a complete configuration." Yet the end result has proven here to be quite immediate.

The title of Aleksandra's project We Will Fail comes from an observation - "I often think about perceiving reality. Everyone sees it a little bit differently. Our thinking affects how we interpret things that we see. Watching is not equal with seeing things how they really are. In conflict someone's victory is always someone else's failure. The fact that something could be black and white at the same time was the starting point to work on this new album." We Will Fail has performed live on many European stages including at festivals such as CTM, Unsound Krakow and Unsound Toronto. The album will be accompanied by stunning visuals developed by the artist who also works as a graphic artist. Live performances in Europe and America will follow the albums release in early March 2016.

Auf seinem dritten Album, "The Steam Age", widmet sich der Düsseldorfer Kreidler-Schlagzeuger Thomas Klein mit Hilfe eines stillgelegten Klaviers als Klangquelle einer maschinellen Ästhetik jenseits des allgegenwärtigen Binärcodes. Klein klopft, scharrt, kratzt und zupft - das Bearbeiten von Holzkorpus und Stahlseiten sind die Bausteine eines weit gefassten Klangspektrums, das er später im Sampler gegen den Strich bürstet. Alle verfremdeten Patterns und Sequenzen dürfen anschließend auf dem typischen SølystSchlagwerk-Groove tanzen und verschmelzen mit ihm zu einem hypnotisch treibenden Maschinenfunk. Dabei folgt Sølyst keinem Muster oder einer Chronologie. Der programmatisch gewählte Albumtitel verweist auf einen imaginären Überbau, der versucht, eine in Klang und Grooves gegossene Studie von Abnutzung und Gebrauchsspuren widerzuspiegeln. Die Musik ist durchsetzt von Zeitspuren wie Staub, Patina und Rost aus der Welt der Maschinen und ihrem Zusammenspiel und Ineinandergreifen von mechanischen Bauteilen wie Zahnrädern und Kolben. Auch Lärm, Hitze und Dampf gehören zu diesem assoziativen Inspirationsfeld.

Auf seinem dritten Album, "The Steam Age", widmet sich der Düsseldorfer Kreidler-Schlagzeuger Thomas Klein mit Hilfe eines stillgelegten Klaviers als Klangquelle einer maschinellen Ästhetik jenseits des allgegenwärtigen Binärcodes. Klein klopft, scharrt, kratzt und zupft - das Bearbeiten von Holzkorpus und Stahlseiten sind die Bausteine eines weit gefassten Klangspektrums, das er später im Sampler gegen den Strich bürstet. Alle verfremdeten Patterns und Sequenzen dürfen anschließend auf dem typischen SølystSchlagwerk-Groove tanzen und verschmelzen mit ihm zu einem hypnotisch treibenden Maschinenfunk. Dabei folgt Sølyst keinem Muster oder einer Chronologie. Der programmatisch gewählte Albumtitel verweist auf einen imaginären Überbau, der versucht, eine in Klang und Grooves gegossene Studie von Abnutzung und Gebrauchsspuren widerzuspiegeln. Die Musik ist durchsetzt von Zeitspuren wie Staub, Patina und Rost aus der Welt der Maschinen und ihrem Zusammenspiel und Ineinandergreifen von mechanischen Bauteilen wie Zahnrädern und Kolben. Auch Lärm, Hitze und Dampf gehören zu diesem assoziativen Inspirationsfeld

The Hidden Jazz Quartett returns with "Tap On The Backdoor" featuring Greg Blackman getting on the good foot with a straightforward soul mover. on the flip you find a remix by labelmate Renegades Of Jazz. play it loud !

The fifth release from Kraftjerkz is the deepest by far... an ass-shaking cross between Kraftwerk and a John Carpenter soundtrack featuring drum rhythms ala Computer World.

Takes the Sludge sound into another dimension: "Cheddar Bae" shows Applewhite's more Ghettotech side w/insanely catchy call & response vocal hook. "Mouthwork" has a drag gin juke beat, w/Ashbaby pimping the Dance Mania vibe.

About two years ago Sonar Kollektiv released Marlow's first 12inch. The funky sparkler inviting everybody to bop along, Backroom' (SK265) soon became a stable club hit and got airplay on all respectable radio stations all around the globe (f.e. Gilles Peterson's Worldwide show on BBC Radio 6 Music). The song with the distinctive voice of Pete Josef still works perfectly as proven by this year's Sonar Kollektiv's (limited) Record Store Day release. Two brand new remixes give wings to Backroom' and transport the track a second time to all the dance floors where hips are swayed lasciviously. No less a figure than the Hamburger allround entertainment machine Erobique takes the track to task and puts you with his Maxi Mix in a cheerful mood in an infectious way. A tiny bit more restrained is the Super Disco Dub remix by Alex Barck and Marlow. Supremely sensitive the bassline played by Christoph Kaiser works its way sluggishly into the groove until the keys by Erobique - in this version as well - take lead. Everything leads to Marlow's debut album, coming this June!

We continue our tribute journey, now we bring in Oscar winning and Dance Hall Of Fame awarded Giorgio Moroder, the man behind such classic tracks with Donna Summer (I Feel Love), Irene Cara (Flashdance) and a number of great film scores such as American Gigolo, Scarface and Midnight Express big support from Dimitri From Paris, Headman, The Glimmers, Simon Lee, Ajello, Ilya Santana and many moore..

!!! repressed !!! the classic feat. atomek dogg !!!

Mikron are two English brothers, Michael & Ciaran Corcoran, living in Australia. Returning to CPU with their L.P. (CD/Digital) & E.P (Vinyl) Warning Score.

Mikron's love of melody and pattern are very much at the forefront with every track full of great hooks and rhythms. The album takes you on a journey through various sub genres all delivered with careful execution and enviable studio mastery.

The title track 'Warning Score' is forged from an acid bassline with Mikron's signature saturated drums, which begs for a big room / system.

You'll find plenty of analogue action throughout, along with some downtempo IDM affairs. Prepare yourself for dark, moody and bass-heavy electronics.

Vercetti Technicolor's ficticious soundtrack to the 1972 Munich Massacre, is a bleak, cold and somber work. Partly inspired by the 1999 Documentary by Kevin Macdonald, Vercetti creates a tense and brooding approach to this, the most darkest of subject matter. This is far from dancefloor material, this is doom-electronics at it's most frightening. Giallo Disco is proud to present our first LP, Vercetti Technicolor's Black September, closer to minimal wave than moroder and all the better for it. Remixes come from Mexico's PLAYTONTO and Creme Organization signing's Francesco Clemente.