House Vinyl New Releases - News

Reissue of Ex-Terrestrial's debut EP lands comfortably on Temple. Resting somewhere between the inner and outer, Paraworld is the space for thoughtful and reflective explorations. Recommended for lovers of that Chillbient™ sound.

the french house classic now repressed !!!

3024 is back with another fully loaded release bringing together an unlikely band of artists into a surprisingly coherent Various Artists EP. Label owner Martyn kicks off the show with the twisted UKG reese bass roller "Frozen Bread Snaps", followed by a nifty dnb workout by Sin, Gremlinz & Jesta called "Door of Guf". The flip features UK "hard drum" master Noire with the headzy "Ballas" and last but certainly not least there's the sonic bliss of "Dusty Glass Bubbles" by the inimitable Parris. Enjoy!

Notte Brigante founder and buttons specialist HLM38 is back in versatile style. Kump's label boss Gil.Barte and polyrythmic genius Harmonious Thelonious take care of the remix with two exotica versions in slow motion style. Limited to 200 copies

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

With the fifth release and the first 7inch on the quality imprint, Notes On A Journey turns its attention to Brazil. Finally, one might think, since it’s an open secret that the guys behind the label all have a soft spot for music from the leading coffee exporter in the world. So, when Brazilian DJ, record collector and digger extraordinaire Junior Santos brought this Celso Rubinstein 7-inch EP (called «Compacto» in Brazil) to the Berlin label’s attention he hadn’t to do a lot of persuading to have NOAJ reintroduce this beautiful piece of music to fans around the world some 36 years after its first appearance.

Born in Brazil to a family of Holocaust survivors, Celso Rubinstein’s career as a singer allowed him to take residency in several countries including Spain, Portugal, Israel and Britain. He performed as an artist in numerous clubs and supported other artists as backing vocalist. In 1982 he booked studio time at Chico Batera’s studio in Rio De Janeiro to record two songs for an intentional debut album.

'When you put on the first track on the album 'Antisocial Background 2017 - 2019 by Mythologen your likely to think: 'this is THAT kind of an album', and fell happy with that. But Mythologen aka Alexander Palmestal is not 'THAT' kind of an artist and this album reflects his broad musical background. It spans from Japan to USA, from the 70s to the 00s and from cold concrete floors to fluffy cotton clouds. Palmestal, with a background in bands such as Pistol Disco and Iberia now releases his second full-length album on Hoga Nord Rekords

The album is a play with emotions and genres, with unexpected meetings between major and minor keys and is a collection of tracks where Jungle, Electro, House, Synth and Big Beat are deconstructed and put together as relevant contemporary dance music. The production on 'Antisocial background' sometimes sound like a more electronic version of Boredoms but most of the time it puts the listener on the British isles and in the 90's. Palmestal pays respect to his masters but he is not in any way too careful with their legacy and let, just as on his debut album, influences from the 1970's and 80's Nigeria and Soweto.'

For Against Fascism Trax 006, Auntie Flo takes us to Brazil, a country that is dealing with having a bona fide fascist president, with an EP recorded in Rio De Janeiro. I’m going to shut up and let Afonso Marcondes from Sao Paolo take it from here -

In a world in which culture policies (incl. music) win nationalist tones, Brazil has lessons to give with the catastrophic failed experience of the last government and the teletubbies talk on Culture from the current one.

As one sometimes feel as if one is on a time-warp from time to time, most often taken there by music, songs like March of The Berimbau here, could easy make for the perfect soundtrack for the political history of Brazil, country in which Auntie Flo got his inspiration and recorded this tracks.

From the military regime that gave Brazil bossa nova in the 60’s, the tropicália sounds of the 70’s to the pop rock era of the 80’s all the way from the rave scene of the 90’s to todays Bahia Bass, music in Brazil has always been instrumental in helping shape the political scene.

One thing about the Brazilian music ’scene’ is that rarely it lends itself to extreme political views, via lyrics or otherwise, after all, carnaval must be kept a happy time! The number of different cultures living in peace, side by side in Brazil has strenghten the country disapproval of hate talk in music since I can remember growing up in the interior of São Paulo state.

As per wiki: Fascism is a form of radical ultranationalism, characterized by dictatorial power, forcible suppression of opposition… Children bedtime reading if you follow the past 15 years in Brazilian politics and the rise and fall of Brazil’s Labour Party, together with its disastrous polices on culture and synergy with de definition above; including the views of a important cultural Party branch that continuously 'preached' that Authors should need no rights over their works. That couldn’t bit music in Brazil.

Fast forward to the first 5 months of government of an unfortunate retired army officer, whose every word sounds like Trump, and whose views on culture is to extinguish the Culture Ministry and cut low the state incentives to the sector, that, so far, is not bitting music in Brasil.

Hope that Auntie Flo’s music inspired everyone as the place where it was made and recorded inspired music in Brazil, as a beacon of light against any hate talk darkness.

Following well-received releases from Annie Hall, J. Wiltshire, MANASYt and Ricardo Tobar, MUSAR continues with another distinct slice of hugely satisfying, leftfield dance music, this time courtesy of legendary Norwegian producer Mental Overdrive.Limited to 150 copies!

The must have DJ tool is back for a third chapter

Label boss Pete OntheCorner has dipped into his secret stash of firelighters from around the globe.

On the Corner’s backroom and basement workout ‘Versus’ is brimming with heat and is once again the essential tool for discerning DJs.

The very latest productions, new signees, dubs and remixes bring a future taste of the action On the Corner. This uncompromising and unrivalled collection brings the label’s global family together on wax.

Versus III features tracks from Dengue Dengue Dengue, Khalab, Penya, Planet Battagon, Blood, Wine or Honey, James Stewart and the uncompromising street sounds of Mnanda from Dar es Salaam. Flexing their remix might for this 12”: Nicola Cruz, Mahgreban, Hieroglyphic Being and Sarathy Korwar goin’ in live.

There are some familiar faces occupying this tasty wax and some new comers.
Get your atlases out again as OtC criss-crosses the globe introducing you to artists from afar-afield as Dar es Saalam, Chicago, Hong Kong, Lyon, South London, Peru and Rome.

SHIELD IS BACK WITH 2 KILLER REMIXES THE CLASSIC

Flippen Disks is a newly-founded, Amsterdam based, music outlet run by Monty named after his grandmother’s maiden name. This first release sets out to find the label‘s own space in between genres, a versatile endeavour to move dance floors, yet staying non-functional enough to be listened to at home as well. It features the first ever released of Julius van Ijperens new alias Post Traumatic Drum Disorder and a collaboration with Flippen Disks founder Monty on one, while the flip side features a track by the latter and a superb remix by Candomblé’s own DJ Ungel from Düsseldorf.

The illusive Nelson of the East reappears with his forthcoming EP Phase Alternating Lines – a first class two-tracker.

The Swiss-born, Milanese artist released his first EP Night Frames just last year, making a strong entrance on Tartelet Records. This time around, N.O.T.E explores 80s electro boogie with ‘Phase Alternating Lines’ on the A side, and delivers his very own take on obscure tribal house with “Burning Palm” on the B side.

N.O.T.E is young, thirsty, and dead serious about his music. His admirable work ethic shows off not only in his own releases but also in his collaborations with other artists. In the past year alone, he has produced for Wayne Snow and several others that are keeping their work under wraps – while simultaneously creating music as N.O.T.E and under his Verner moniker. All the hard work seems to be paying off on this new 12’, where he comes through with two outstanding dance-floor bombshells.

If you’re into the 80s, Beverly Hills Cop, or just sad that you missed out on Studio 54, you’re going to love EP opener, “Phase Alternating Lines”. It’s got it all: hot drum programming, an electric boogie bassline and a cheeky melody that sticks. “Burning Palm” takes us into obscure tribal-meets-afro-house territory, utilizing percussion, synth marimba and hypnotic melodies – all held together in a tight, driving groove. This track is exotic at its root and perfect for any late night outdoor activity. Both tracks come as extended edits for the vinyl release.

This is a limited-edition release of 400 copies, written and produced by N.O.T.E, arranged by N.O.T.E in close collaboration with Tartelet Records’ label head Dirk 81 and mixed at Panalama Studios in Copenhagen on the Neve 5088 Shelford console for good measure.

Second release for Nantes based Abstrack crew. Three takes on obscure ethnic recordings with an unknown origin! Abstrack comeS up with A batch OF music that sounds like them : spanning all the way from trippy grooves to heady dancefloor material.

An unbelievable anecdote from the 20th century led to these three tracks. Breaky and trippy vibes are played with on the opener : coming in and out of the groove, while the ambient air is sparkled with surprises. Malcolm TURNS up with a rolling acid and drums workout, coming up subtly and bringing hands upwards for sure.
Label man Vidock goes afro, epic and vocal on the last piece. A track to open up the vibe without losing dancefloor intensity. Super emotional and beautiful.

The (true?) story behind the record :

The Traumstatter Phonogramm Archiv is host to one of the world’s largest ethnographic recording collections. It was created in September 1901, when a group of Indian musicians came to Traumstatt, where Blois Schauder, a psychologist at Berlin’s university and Xiu Pu Sonmi, a physicist from China recorded them on an Edison cylinder.
150 000 ethno-musical recordings have joined the collection since then. During the cold war, many cylinders and tapes were safely kept out of danger out of the country and sent to the four corners of the globe.
After the wall came down, the repatriation operations started, and in April of 1990, the Miquelon-based ship “l’Herminie” sailed out, with a large number of recordings on board. Ten days later the ship sinks. The eight crew members were rescued by a Swedish cargo ship and a few floating trunks along with them. The few tapes that didn’t sink aren’t the main concern, and they end up in the posession of a swedish sailor.
After reading this unbelievable story in a collection of anecdotes from the 90’s, an investigative work began, leading us to track down two of the tapes. We digitized them and sent them to several musicians and producers. The difficulty to give them an age or a geographic origin gives us the feeling that they come from an unknown land and time. Dreamtown Ethnic Tapes is intended as a wink to this beautiful story, that started a century ago, in the city of dreams…

Second release for Nantes based Abstrack crew. Three takes on obscure ethnic recordings with an unknown origin! Abstrack comeS up with A batch OF music that sounds like them : spanning all the way from trippy grooves to heady dancefloor material.

An unbelievable anecdote from the 20th century led to these three tracks. Breaky and trippy vibes are played with on the opener : coming in and out of the groove, while the ambient air is sparkled with surprises. Malcolm TURNS up with a rolling acid and drums workout, coming up subtly and bringing hands upwards for sure.
Label man Vidock goes afro, epic and vocal on the last piece. A track to open up the vibe without losing dancefloor intensity. Super emotional and beautiful.

The (true?) story behind the record :

The Traumstatter Phonogramm Archiv is host to one of the world’s largest ethnographic recording collections. It was created in September 1901, when a group of Indian musicians came to Traumstatt, where Blois Schauder, a psychologist at Berlin’s university and Xiu Pu Sonmi, a physicist from China recorded them on an Edison cylinder.
150 000 ethno-musical recordings have joined the collection since then. During the cold war, many cylinders and tapes were safely kept out of danger out of the country and sent to the four corners of the globe.
After the wall came down, the repatriation operations started, and in April of 1990, the Miquelon-based ship “l’Herminie” sailed out, with a large number of recordings on board. Ten days later the ship sinks. The eight crew members were rescued by a Swedish cargo ship and a few floating trunks along with them. The few tapes that didn’t sink aren’t the main concern, and they end up in the posession of a swedish sailor.
After reading this unbelievable story in a collection of anecdotes from the 90’s, an investigative work began, leading us to track down two of the tapes. We digitized them and sent them to several musicians and producers. The difficulty to give them an age or a geographic origin gives us the feeling that they come from an unknown land and time. Dreamtown Ethnic Tapes is intended as a wink to this beautiful story, that started a century ago, in the city of dreams…

Vinyl LP (incl. DL-Code) from an artist in their seventies, you probably wouldn't expect to hear an album like this.
But Brazilian drumming legend Ivan 'Mamão' Conti has been experimenting and innovating for the last half a century.
Take a bite of Mamão's psychoactive Papaya and join the maestro on a weird and wonderful stroll through the Brazilian jungle.

Platform 23 returns with the reissue of songs from Canadian project, Vini Vidi Vici. With just one privately pressed mini-album in 1989 that bridged the gap between the later years of New Wave and the early vestiges of House, the music included in this edited EP highlights a thriving Montreal scene in its heyday.

Vini Vidi Vici was created out of two different music backgrounds. Paul Klopstock was a classical pianist, while Mario Langlois was a DJ, self-taught musician and radio producer, who came together when both worked at the underground arts / club Le Lezard. Starting in 1986 the space mixed painting, drag shows and bands alongside the latest alternative sounds, from Rap to New Beat, Electro to Acid Jazz.

As House and Techno started to filter through, Mario (aka Ave Mario) and the other resident DJs laid the ground of what was to come. From this Paul and Mario collaborated from late 1987 through in to 1988 and created the mini-album, however this EP concentrates on the duo's self penned work.

Recorded at Oliver Sudden Production studio, the A side is made up the raw House of 'Club Stuff" and Native American meets avant percussion of 'Vini Vidi Vici'. Showing a confidence and experimentation beyond their years, the two tracks production and all round hypnotic danceability, highlight why original copies are so prized (and expensive).

The B side follows with two tracks recorded in Mario's home closet studio. Lo-fi to the max and improvised, the no wave / world beat experience of title cut, 'Ou Sommes Nous' and the proto-electro-wave of 'AA HHH' are like something again, a mesmerising fusion and quite unique.

Self pressed, the project ventured to live performance and (sadly unreleased) remix work, before the partners went their separate ways, however this archival document can be seen as their own special conquest.

We could wax lyrical for days about the music of Ewan Jansen but we’ll leave that for the blog sites and Reddit message boards whose pages his name regularly graces. The Australian producer responsible for seminal 90’s label Red Ember could be seen as an unwitting progenitor of the now well established and flourishing Australian House music scene and his vinyl releases have become highly sought after and frequently exchange hands for triple figures. Appearances on other legendary labels such as Mike Grant’s Moods & Grooves (who released Ewan’s Blueline Summer LP in 2005) and Chez Damier’s Inner Balance. In 2016 Ewan brought Red Ember out of hiatus releasing some solo material that sounded fresher than ever, continuing to push his raw yet musical, authentic house sound. Cut to the start of this year and Jimpster is flicking through Instagram when he stumbles upon a short clip of some work in progress on Ewan’s
profile. Transfixed by the vibe, he contacts Ewan to offer a release on Freerange and we’re now super-proud to present you with the Perfect Strangers EP. Four original tracks showcase Ewan’s impeccable attention to detail in the grooves, sounds and production. With the uptempo, afro-tinged synth jam of Take U Away and the more crunchy, minimal bounce of Logarithm, we find Ewan in pure dance floor mode on the A side. Flipping over we’re treated to Chika Kozo, a rolling groove with an emotive vibe, perfect for a late-night drive through the urban metropolis. Closing out
the EP things get more intimate and introspective on title track Perfect Strangers. Layers of warm pads build upon a punchy house groove whilst a filtered Moog bassline keeps the momentum and brings the low-end energy to the track. Overall Ewan’s sound melds together many sonic worlds, bringing to mind early Morgan Geist, elements of Warren ‘Hanna’ Harris, Black Dog, ART and early 90’s IDM, all put together with love and skill by a master of his trade. Enjoy

After approx. 50 releases on the market, the Sweden based label Tom Tom Disco managed by Richard Rossa is going to release his first Vinyl EP. For this very special occasion, Cornelius Doctor & Tushen Raï, head of Hard Fist records are signing their second EP with the remix support of the Indonesian master Jonathan Kusuma and the Lithuanian magician Roe Deers. A slow percussive 12inch tinted by Middle Easters synth melodies, Brazilian psychedelic Berimbau and strong acid lines made to kill every dance floor at less than 110bpm. One message : « People Pray Together », affirming that all humans believes, and that believing have no borders. « People Pray Together » as an allegory of the crowd symbiosis enjoying a late night dance in a wet club.

Philippe Quenum returns to Cadenza Music with 'Solitaire', some thirteen years after helping kick start the Swiss label with the 2003 release 'Orange Mistake'/'Funky Dandy'. This groundbreaking single, co-produced with Luciano, has since become a landmark release, not just for the label, but also as the benchmark for the micro-house and minimal tech-house genre that developed over the decade. With a music career than spans back to the mid-80s (dancing in NYC as part of the breakdance troupe, The Magnificent Force), Quenum found his forte with house music, both as a DJ, and as a producer and label owner. Setting up the Access 58 label in 1998 as a platform for his music and collaborations, Quenum has consistently released over the years for labels like Crosstown Rebels, Soma, alphahouse, Thema and Trapez LTD. 'Solitaire' finds Quenum on fine form; on the lead track, dubby FX and bass shaking shots roll out over an urgent disco beat, muted brass and technoid stabs fire from all directions as the tension building pads flourish. Shadowy forces are at play on 'Mystic'; discordant sounds echo and bellow over reverberating percussion and a dense back beat that fire into life with shuffling hi-hats. Wrapping up this welcome return to the label is 'Mystery'; whipping snares and industrial clangs rumble over the urgent drums for more hypnotizing dancefloor work from Philippe!

Reaching the milestone of its 100th single/EP release, Circus Company welcomes back Aquarius Heaven with a new EP of poignant, uplifting house music loaded with a meaningful message for these transient times. It's nearly three years since Brian Brewster delivered the Parallela Mundi 12', and in that time he has been on a relentless mission to spread his unique blend of house music, Caribbean roots and psychedelic magic across the globe in a whirlwind of live performances and collaborations. In a manifestation of his well-travelled soul, these new pieces call upon traditional influences in amongst the modern motifs that Aquarius Heaven has been built on, while lyrically dealing with the pressing issue of refugees escaping conflict, poverty and famine. The proud drum throwdown and carnival bleeps of 'Bato Chargé' conceal the seriousness of its theme. In Brewster's native tongue Creole, bato chargé translates as overloaded boat. With the Caribbean as equally rooted in the history of displaced humanity at the hands of sinister powers, the groove of 'Bato Chargé' takes on a defiant, hopeful tone directly inspired by the traditional percussive music style Gow Ka. '50 Drops' by way of contrast takes on a noirish tone with its gritty, street-weary tale and nocturnal melodics played out through enchanting arpeggios and warbling leads. Cooling off the tempo and heading into a digi-dub skank that plays off Brewster's roots in reggae and dancehall, 'Marie Galante' takes those same warm synths and runs them through a low-but-heavy stepping landscape; the perfect backdrop to the vocalist's dexterous ramblings on the mic. It's not often you hear Creole New Release Information delivered in contemporary electronic music, with a rare exception being the legendary work of Tikiman et al with Rhythm & Sound in the 90s.

The 3rd EP (of 4) looking at the music of Exquisite Corpse's output from 1992 to 1994. As with the rest of the series the music included covers the palette of Robbert Heynen's output and is presented here, remastered and redesigned for club play.

Working as ever with friend and engineer Tim Freeman, as well as partner Debbie Jones, Heynen's post-Psychick Warriors Ov Gaia productions took his techno, trance and tribal explorations to a new conclusions.

With Point Zero all these elements come together with possibly the strongest tracks of the EPs. Opening EC's sophomore album, Inner Light, there is confidence in the interplay between oscillating sequencing and rattling drums, perfectly and infectiously interweaving between headspace and dance floor.

B K S from the Dream Night Dance Music album follows and takes things down a notch. Ethnic leanings interplay with light percussion and a deep bass to pull you till dawn.

Side two opens with the clattering, syncro-rhythms of Traditional Ties With Dreaming. Taken from their debut EP, Reassembling Reality is itself the perfect elude. Quasi-dreamlands, drumming for 1000 musicians that loops and builds, dismembers and starts over like a gentile, hypnotic orchestra.

To complete the EP, Dream Night Dance Music appears again with Elevator showing a love of the original deep house odes emanating from Fingers and Jefferson of late 80s Chi Town. Fluorescent keys overlay somber drum and bass to sink the most melancholy sunsets. An end to the beginning. A beginning to the end. A third ending.

sssIn January 2016 arts and music organisation Santuri East Africa invited guest producer Jan Schulte to join the Nile Project gathering in Aswan, Egypt - an intensive two week musical experiment featuring musicians drawn from all around the Nile Basin that functioned as both a creative cauldron for cross-border collaboration, and a forum for artists and cultural activists to discuss the issues affecting the Nile river.

Wolf Mu¨ller aka Jan Schulte has been a resident of Dusseldorf's era-defining Salon des Amateurs for many years, releasing wildly inventive and dance music under various monikers - from his birth name to Wolf Mu¨ller, Bufiman and his Young Wolf collaboration with Young Marco. Schulte's feel for off kilter sounds and rhythms and a playful approach to the sometimes po-faced world of dance music have resulted in some incredibly well received releases (Instrumental Musik Von Der Mitte Der World and the compilation Tropical Drums of Deutschland being prime examples).

Santuri East Africa is an organisation set up to connect musicians and producers from around the globe, a process of co-collaboration that has led to some highly well received releases on Soundway (Msafiri Zawose) Sofrito (Auntie Flo's Soniferous Garden) and On the Corner (Makadem and Mugwisa).

Clocking in at a shade over 15 minutes, A-side 'Mabomba Dance' gradually layers Kasiva Mutua's needle-sharp percussion over a deep analogue bass pulse, building into a hypnotic dancefloor workout.

The B-side sees erstwhile Owiny Sigoma Band collaborator Rapasa Nyatrapasa showcase his Nyatiti harp before delving into an almost Afrobeat-esque slice of afro-minimalism. The EP rounds off with Adel Mekha's stellar vocals over traditional Nubian percussion.

Marvin Jupiter is an 18 year old artist who mainly makes hip-hop music, using bass lines as rhythms more associated with funk. He uses and creates the sound of the modern day interpretation of trap adding his own personal twist.

'Reach' is a rendition of the typical "house" genre including rhythms sampled from South American cultures, using current sounds from the "trap genre" even having a small section of a "trap/hip-hop" beat towards the end of the song.

On the B-side you can hear the boogie & funk through a dego & Lord remix

Female vocal styles from Kenya, rewound as state of the art dance music: Four enthusiastic remix versions from four european electronic producers who magnificiently revisit ON MANDE, the latest album by kenyan vocalists OGOYA NENGO AND THE DODO WOMEN'S GROUP.

OGOYA NENGO AND THE DODO WOMEN'S GROUP are deeply rooted in the folk music culture of the Luo communities in Siaya County, western Kenya. Since 2013 producers Sven Kacirek (Hamburg) and Stefan Schneider (Düsseldorf) have regularly recorded with OGOYA NENGO at her village near Lake Victoria. Right after the release of their debut album RANG'ALA (Honest Jon's) the group has frequently been invited to extended touring in Europe and had quickly drawn a lot of attention from very diverse audiences.

In this respect ON MANDE VERSIONS is the first liaison between the traditional approach of Dodo music and contemporary electronic dance music.

LENA WILLIKENS (Comeme) saw Ogoyas breathtaking performance at Köln Stadtgarten in 2016. For the ORUTU RUN version, she took individual sound samples from different songs of the album. Orutu (a traditional kenyan one stringed instrument), a blow whistle and some vocal harmonies combine hypnotic strumming with propulsive rhythm machine patterns, only occasionally accentuated by shouts from a whistle.

MIX ZWEI by TOLOUSE LOW TRAX (Salon des Amateurs) is an intensely sparse signature mix by one of most original and prolific producers of today's electronic music. Captivatingly growing drum beats reflect the lovely sung vocal line "Where I see you I am here!" and relocates it to a momentum of after midnight funk.

As the shamelessly odd title already suggests, SORBE PEKINGESE by DON'T DJ (Borceuse Heroique) is an unrelenting excursion on digitally pitched vocal samples. Glistering frequencies all over the mix and MAXmsp treatments which expertly morph female vocals into a stunning alien imagery.

BUNDE DUB by Berlin based producer ORSON (Version) takes some complex Ohangla drum patterns to tight and powerful effect.

Bike Thieves are back. On last year's celebrated 'Laura EP', the Stockholm duo plunged into the sounds of classic garage and deep house. On 'Catherina EP', Daniel Strand and Erik Danielson move in a slightly different direction. An explosive blend of afro grooves, tribal vocals and deep kicks and basslines, 'Catherina EP' lets the rhythmic frenzy of Fela Kuti encounter modern house. The record also features Saine, one of Finland's finest underground producers.

On the opening title track of 'Catherina EP', Bike Thieves offer a mysterious deep house burner which slowly builds up around punchy congas, sweeping pads and female chants, eventually exploding in an orgasmic djembe solo. They get even more organic on 'The Greatest Curve', an afro jam driven by funky basslines and polyrhythmic percussions. On the B-side, Saine offers his own take on 'Catherina', turning the track into a hypnotizing and sleepless groove of dance floor tribal.

Masked, mythical, and bass! Few words are needed when superlative entities collide.Dengue Dengue Dengue are the Peruvian duo known for raising a tropical storm. Their electronic psychedelia and bass flows from their roots in Lima, Perú upstream to global dancefloors. The duo are constant in their evolution, exploring rhythms and sounds native to Peru and from the world over. Their focus is in recreating them in electronic form, mixing the old with the new, analog and with digital.

In owning their unique sound and visual identity they share a common quest in their pairing with London-Global label On the Corner. Already deemed 'Label of The Year' at the Worldwide Awards On the Corner are crossing more borders and breaking down the silo of left-field sounds having now been nominated for the 'Best Small Label' gong at the prestigious AIM Awards.
Gilles Peterson's 'Worldwide Premieres' called it back in summer 2016 saying that the label is 'On a never-ending quest to support and expose far-off musical cultures around the world'. On the Corner continues to leave no stone unturned.

In this 6-tracker Dengue Dengue Dengue team-up with label mates Penya. The band feature on the first track 'Pua' that sets a rich scene for the sonic journey ahead. The flip is stormed with title track 'Semillero' whilst hearts, minds and imaginations are set to be inspired with their versioning of 'Habu Raminibu' which is a healing chant of the Huni Kuin people whose ancient home is located deep in the Amazon where the borders of Peru and Brazil meet. The collaboration between artist and label seeks to honour and represent this heritage. The Huni Kuin have bestowed guardianship of this rare cultural treasure to Dengue Dengue Dengue and On the Corner.

'Semillero' is music that moves souls, allows imaginations to flourish and the feet to follow.

The spiritual concept running through this mini album/E.P is summed up in the meaning of title track's name. 'Semillero' is an incubator or seed. A place where new generations of life, culture and talent is nurtured, initiated, and bestowed with precious responsibility and knowledge. A place to keep, nurture and grow the seeds of the future.

Fantastic third release... once again digging for some folktronic music... Deep in the dancefloor !

Konduku returns with Gegek in the five piece sublabel series.

Finnish electro-tropical ensemble Maajo is delivering a new Queen Nanny EP with Ismaila Sané from Senegal. Currently based in Finland, Sané started his career as a dancer and percussionist in Dakar in 1974. He has since pursued an extensive international career and worked with the likes of Jimi Tenor and Piirpauke. Ismaila and Maajo have produced two powerful songs in Jola language, spoken in Casamance, Southern Senegal. Sèmbè is an off-beat mix of disco reggae grooves, dancehall rhythms, trancey synths, and African gospel. The dub version on the flipside does what a dub is supposed to do, strips the track to its bones for bass-heavy sound system. The second track, Anaata, is a dark and mellow dub disco groover with an equally sublime vocal performance from Ismaila Sané.

First production of the label Sound Crack Records, 'Organic Feeling (Tool
Mix)' is a run through the jungle, savage, tribal, the raw nature animals of
Mama earth bring the feeling of being in the middle of them, the TR08 add a
kick to the efficient duo live drum Fleury Saint Denis. A real tool for house
and techno DJ's to pump the energy to the top.
On the B side comes 'Before Midnight (Evolution Mix)'. This techno track is a
trip in the urban jungle, when the city sounds are coming out of nowhere, the
melody of the steel tongue drum live played by DJ GSD is bringing the human
vibration to heal the soul. An old school touch of Detroit techno, mix with a
meaningful speech of Kennedy will take you travelling through the evolution of
mankind.

"KUMP is delighted to release the first EP by HLM38 (ou HLM38's first EP), the naughty half of duo Ricco and member of the Notte Brigante crew from Lyon. The three original tracks, a mix of ethnic looting and industrial racket in slow motion, feel like steel wrapped in Turkish delight. Front de cadeaux's take on Illicite Cong' is reminiscent of an erotic rave flavoured with Oriental spices. Last but not least, Kris Baha slices up Exit' like a tablier de sapeur (local Lyonnais dish) served on a julienne of syncopated samples and noisy beats.'

Musically and emotionally, Superpitcher's third full-length studio album, The Golden Ravedays is a one sound autobiography that exhibits the skill, feeling and style that the artist has honed over a period of twenty years, musically, and forty-plus-years, emotionally.

And full-length it is:

The Golden Ravedays is an epic album of 24 tracks that was released in January 2017 and is stretching over 12 respective chapter albums during a one-year period.

The fifth piece of The Golden Ravedays puzzle will be released on Hippie Dance in May 2017.

Number 5 of the series introduces two further tracks of the sound adventure that Superpitcher is taking us on this year.

The djembe drum on the cover and the two titles of the tracks hint that this edition could potentially include stuff that was inspired by the rhythms and melodies of Africa - a sound legacy that is of great importance to Superpitcher. Side A features Bluesin.

Rumor has it that Superpitcher visited South Africa and adventurously traveled into the deep bush-bush where he met new friends with captivating voices who speak in enchanting tongues. Initially, Bluesin is bursting with aching, longing and the oldest story of sorrow but there is also comic relief and pride in this story; typical of the emotional signature of the sound of Africa and the Blues that it gave birth to later on.

Side B features Burkina.

It all starts rather innocently with Burkina.

One gets carried away by the funky, ethnic drumming thinking yummy yes, this is going to be a virtual trip to the Brazilian amazon, or maybe a corner of the Congo, Cameroon perhaps, and one is not even side-tracked by the arrival of birdsong and something that hypnotizes, like beautiful sirens because it is all too groovy for any dictionary, and then, oh boy, then their Mother Superior arrives and all hell breaks loose.

Frogs, kudu horns, rattlesnakes, things that hiss and croak and the haunting voice of Her.

As if that is not enough to make you believe you have been propelled to a new continent, wait until the ending of Burkina!

It will transport you to another universe altogether!

Fresh from classic releases on connected with 'Lust' Remix and 'Drained' EP from David Mayer and the sublime L.D.O.E. (Aaaron &Deckert) remix from Floyd Lavine, this time they team up for their own release , and its special !

A. Sondela feat.Xolisa - A beautiful almost nomadic journey through pulsing beats tense percussion and snatches of electrifying music evoking a celebration of earth water sun and music with dramatic percussive breakdowns massive synth drones all topped with a powerfull vocal urging the listener to 'Follow the Sound' maybe to the magical Sondela . Truly a thrilling and compulsive ride.

B1. XI - A deep smokey pulsing late night percussive dancefloor thriller with mysterious synth lines, bringing to mind urban dystopia.

B2. Sondela feat.Xolisa (Floyd Lavine Drumversion). The stripped down version , emphasizing the bare beats and percussion and vocal creating a tribal atmosphere.

Four stunning remixes of Front De Cadeaux by our Fabrizio Mammarella. Comprising Hugo Sanchez from Rome and DJ Athome from Bruxelles, Front De Cadeux serve up three brand new tracks of 4/4 leaning crackling, static dance-mechanics that will fit straight in to your peak time selection. Touching on tribal house at points and the foggy basements of Berlin in others these remixes are joined by Mammarella's 'Pedé BPM' re-work - a gnarly slice of synthetic EBM that was previously only available digitally.

Brotherhood Sound System masterminds, Silas & Snare, offer up an entrancing two tracker for BSS006 alongside a remix from one half of Genius Of Time, Arkajo.

'Tree Of Idleness' is a mysterious, delve into the depths of techno, full of crisp congas, a maze of shakers and modulated synthwork. Expansive soundscapes and tripped out samples reverberate throughout adding to the eerie aesthetic.

The B side takes a darker path via 'Paimpol's Theme', intertwining a multitude of synth melodies with echoing claps, heavyweight analog rumblings and sweeping delays. Journeying through its melancholic undergrowth, 'Paimpol's Theme' will enchant as much as it excites.

Closing out the EP Sweden's Arkajo, known for his work as one half of Genius Of Time, steps up to remix 'Tree Of Idleness', putting a harder hitting twist on the original. Focusing in on the synth stabs whilst layering ethereal strings and reworked conga and kick patterns, Arkajo produces a no-nonsense, club ready roller.

Previous BSS releases have picked up support from the likes of Skream, B.Traits, Madam X, Hodge, Arkajo, The Black Madonna, Agoria, Voyeur and DSC, and BSS006 is set to follow firmly in their footsteps.