House Novedades

Early January 2018 Bondage-Music return with a vinyl only Release, comprising four original compositions from Sascha Dive,
Tuccillo, NTFO and James Dexter.
Vinyl Only

RAAM continues his deep house exploration with EP 'Unfinished Diary'. The EP is packed with yearning pads and tender chord work that collides with dirty beats and deep basslines that creates that special melancholy but yet raw feeling.

A brace of strong bass excursions from the the huge talent they call, Ishio Dai! Jamming on the 808, 'Coco Dub' & 'BS' bounce around some proper system-testing bass weight!

Music Mania and Indica Dubs is proud to present the fourth release in their Mania Dub series. Following the classics 'Almighty Dub' (MD001), 'Rastafari' (MD002), 'Light Up Your Spliff' (MD003), comes another of the UK Dub scene's most popular producers; Vibronics, with two of their most popular anthems from the early 2000s: Red, Gold & Green / Terror. Both of these killers were previous released on different labels, and we have collated both songs into one giant release! Vibronics, the future sound of dub, have been vibrating the world with bass since 1997. Their music is at the forefront of the UK Dub scene, proven by over 60 releases on their own legendary SCOOPS label.

'Red, Gold and Green was the first time I worked with Horns - all played by Stevie Splitz - and now I've been working with him ever since... Terror was made with using the most basic equipment, set up in a temporary studio at home just to build some of raw exclusive dubplates that were never meant for release - they have gone on to be some true Vibronics anthems.'

The master tracks have been provided by Steve Vibronics for us to ensure the original heavyweight sound!

Mayak's resident Anton Kubikov returns with a new very moody, percussive and melodic house track on A-side. for remix duties we invite Dubtil, who makes a complete rework, dark, pushy, but still very groovy.

Hitoshi Murakami aka First Floor debuts on Local Talk.

Opening track 'You Dubn't Know' got a heavy bassline, deep chords and hypnotic textures and sounds like it was tailor-made for those dark and late after hours in the club. A righteous lesson in bumpin' deep House...

On the flip, 'Delight', shows a different side. A piano driven house track with a great sense of melody that just keeps on keeping on - and that's a good thing.

2x12"

We are living in precarious times. A senile, racist old man prone to temper tantrums has his tiny hands on the controls of the most powerful military machine the world has ever known. A handful of his (no less dangerous) international business associates and personal friends possess more collective wealth than the rest of us put together. The oceans and forests of the planet are dying slow deaths by asphyxiation, force fed 300 million tons of single use plastic garbage every year, and the temperature, both literal and rhetorical, rises the world over with each passing day. The formerly quaint ritual of rolling out of bed and reading the morning news over a cup of coffee is now an act reserved only for true sadists. To start each day being reminded that we have wilfully engineered a reality of such profound injustice and utter stupidity is enough to make the blood of even the most devote pacifist boil with rage. Rage in of itself however is the most dangerous of emotions. The burning torch of the riot and the mob. If the results of it's expression fail to provide at least the possibility of change for the better, then the rantings and ravings it fuels are worth little more than the breathe spent delivering them. Hope then, it seems, is the key to allowing us to carry on in the face of so much non-sense. On his latest studio album, we find Scott Monteith aka Deadbeat ruminating with hard earned wisdom and confidence upon this very notion.

The album began with the simple idea of asking friends from across the globe for messages of hope. No musical input was provided before hand, and each participant was free to interpret the request as they saw fit. Though some of the names involved will be familiar to electronic music listeners (Gudrun Gut, Thomas Fehlmann, Mike Shannon), the common thread linking all of them is their friendship with Monteith and the many hours he has spent enjoying their company over the years. As so often happens when good conversation is shared among good friends, the results are as surprising as they are inspiring, spanning original prose, dialectic word games, and timeless quotations in six languages. Each song on the album was then composed around the content received, and named after the people who did the speaking. Ranging from the overtly political to the tenderly inspirational and many points in between, Wax Poetic For This Our Great Resolve provides verbal expressions of hope as diverse and rich as the experiences of the people who so generously delivered them.

Musically the album sees Monteith taking his well honed sound design abilities and wide screen arrangements to new heights, and exploring a deep interest in traditional analog recording methods to mesmerizing effect. Every sound on the record, whether generated from his tried and tested array of software based tools, or from the enormous collection of guitars, organs, pianos, and percussion instruments found in the Berlin based studio he now calls home, was recorded via microphone. Even as the very first track slowly fades into existence, it's clear that the smoke filled atmosphere of the place has penetrated the recordings to their very core. Indeed, it is no understatement to suggest that without the physical confines of the magical studio Chez Cherie, and the countless late night conversations and musical contributions of all the other beautiful souls who occupy it (T. Raumschmiere, Ben Laubner, Tilman Hopf, PC Christensen, and of course Cherie herself), this latest Deadbeat album would have been an impossibility.

Though it may be his name alone on the cover, Wax Poetic For This Our Great Resolve is a document of collective action, and the power of community. If the resulting recordings are any indication, a great deal of hope it seems is still to be found in the simple act of getting together with good friends, and celebrating all that we share through words and music. At a time when the technological and political powers that be seem so dead set on seeking to divide us, this sense of common purpose is more important than ever.

The new talented Italian producers Sibling and the Russian Artist Heavenchord kicking it off with Lonesome Landscape EP on FAUXPAS MUSIK. An emotional piece of late night atmosphere dub techno music full of analogue warmth and heart-warming depth. Vinyl tastes better...

Vril's debut EP on Giegling.

Deadbeat graced ZamZam with a release in our very first year of operation. Lending his name & gravitas to our young effort with ZamZam06 meant a lot to us at the time, and is something we never forgot, so we couldn't be happier to have him back for a second outing. Canadian by birth, now residing in Berlin, Scott Monteith is known the world over as one of the most adventurous and reliable producers in the areas of techno and dub-inflected electronic music. Extremely tight quality control over multiple full length albums and countless singles on seminal labels including ~scape, Echochord, and his own flawless BLKRTZ have made him a household name in dub techno and beyond.

Deadbeat's second ZamZam sets aside obvious techno constraints for a mid-tempo reggae scorcher that sounds like it was beamed straight from the humid & heady glory days of the Black Ark studio. Anchored by a tar-thick bassline recalling Lee Perry's 'Dub Organizer,' 'Wail Ball and Cry' leans hard into its rockstone drum kit, with whip-sharp turnarounds, clattering Binghi drums, melodica stabs and restrained yet ever-present flange and reverb keeping the atmosphere swampy and sparkling. A sweet falsetto intones on the loneliness and alienation we all navigate in these times of political debasement and (social) media spectacle.

'Dub Ball and Flange' mutes the vocal for a traditional version focused on nuance rather than over-the-top effects; high hats take the spotlight through expert filter & phaser work, as the heat inches up in the room with a stew of bubbling reverb & delicate echo trails adding to the already simmering & shimmering vibe.

Mastered by Sam at Precise

Beta Librae is Bailey Hoffman, a producer from Kansas City, living in New York City, who co-operates the extremely vital Technofeminism residency with Umfang at Bossa Nova Civic Club, and has previously released tapes on 1080p and Lillerne Tape Club, as well as a single on Physical Therapy's Allergy Season.

Incienso is extremely hyped to release Sanguine Bond', the debut LP from Beta Librae. An extremely singular ambi-tech-no-house album, encompassing all the deepest vibes of the rave - warm and fuzzy afterglow dub mixes, emo-ambient 'ludes, yogic, tribal downtempo vibes and all, mixed with love by the one and only!

For this seventh release, Earlydub Records proudly presents this 12" EP from the Italian young talent Fulvio Ruffert and Loquace! Vinyl Only

Incl. remixes by Barnt, Axel Boman

Following on from the release of FBA21 Collected Works 1996 -2017, which was released November 2017 Matthew Puffett decided to wrap up the project, with a handpicked selection of artists to remix key tracks from the compilation. Amongst these figures are some significant influences on Puffett`s early years The set includes Kirk Degiorgio, whose reworking of 'Cross Dissolve' reimagines the track in full machine mode, serving up a slab of driving techno for the main room. A fan since the early 90s, Kirk and Matt have been in contact over the years, culminating to this powerful re-creation. Steven Rutter (B12) has also reworked 'Cross Dissolve', but in contrast to Degiorgio, Rutter's mix brings out an almost abstracted, ambient mood, a characteristically expressive and textured piece from one of the leading figures in UK electronica. Hardway Bros, Sean Johnston (Andy Weatherall's partner in 'A Love From Outer Space) tackles 'Mourning', a piece of melancholic euphoria. In typical Johnston style, Sean slows it all down, bringing it to a mid-tempo Balearic vibe. A big influence on Matthew in the 1990s, Lee Grainge used to work at the infamous Fat Cat records. A renowned arbiter of sounds, Grainge turned Matt onto countless records from Detroit and beyond, which was crucial in shaping FBA's sound. Here, he remixes 'Diagram', in a manner reminiscent of classic dub techno, Basic Channel. Another influence on FBA's sound is former Eevo Lute Muzique boss from Eindhoven, Stefan Robbers. FBA recorded a mini album for EevoNext in 2009, and the pair team up again here to reinvent 'Machines Can Help'.

Nous'klaer welcomes Rotterdam based DJ and producer Konduku to the label with his debut called Kiran. Altin and Mavi Saat (Golden and Blue Hour) form the framework of the trip, easing in and out with a 4x4 groove. In between the opening and closing act Kiran is less straightforward - A powerful polyrhythmic hybrid of Eastern Europe sounds mixed with UK resulting in contagious grooves that will surely spark many dancefloors.

* Lump Were Born Of Good Timing And Predestined Compatibility. It Began One Night In Mid-june 2016, When Mike Lindsay - Founding Member Of Tunng And Throws And A Prolific, Mercury Prize-winning Producer - Was Introduced To Grammy-nominated, Brit Award-winning Singer Songwriter Laura Marling After Her Show Supporting Neil Young In London.
* A Heady Blend Of Wonked-out Guitars, Moog Synths And Pattering Drums, Set Against Droning, Coiling Clouds Of Flutes And Voices. Marling's Lyrics Slice Through The Apparent Emptiness Of Contemporary Life. Her Resulting Creation Is A Bizarre But Compelling Narrative About The Commodification Of
Curated Public Personas, The Mundane Absurdity Of Individualism And The Lengths We Go To Escape Our Own Meaninglessness.

For Alan Oldham, artistic expression is a way of life, taking multiple forms and medi-ums throughout his lifetime. Before he was ever known as DJ T-1000, he was a published car-toon artist and radio DJ in Detroit writing press releases for Underground Resistance to get by. One day, Underground Resistance was in need of a last minute DJ for their tour in Aus-tralia, and a door flew open for Alan Oldham. With passport in hand he departed on his jour-ney as a DJ, which little did he know would eventually span continents. Influenced by every-thing around him, his work has dynamically changed and evolved along with his life. Currently as an international DJ living in Berlin, his latest creation is the ACIDSPACE EP, released by Elypsia Records under the DetroitRocketScience name. The traveler himself takes us on an intergalactic adventure, beginning with ACIDSPACE (8:48). With a steady beat and a unique blend of serene space sounds, this jam excites the imagination for the journey to come. It is followed by ROCKET TO BERLIN (7:20), a subtle and intricate mix that entices one to enter the unknown. VESTA SYSTEM (6:22) finishes the EP off on a note that leaves lis-teners grooving and enjoying the ride. Creativity and sweet sounds are what it's all about for Alan Oldham. With his recent musical shift to mellower, sci-fi inspired jams, he continues to let listeners see for themselves.

After a few months' hiatus, ZamZam Sounds returns with our third release from Philadelphia dub-tech duo Heights & Worship, the propulsive & heady Selassie's Song' in two parts. Heights is Ras Heights of Ital Sound System, Worship represents Rob Paine, long-time head of dubhouse institution Worship Recordings and Solomonic Sound System. ZamZam's friendship and musical connection to Rob extends back to the BSI Records days, and the link remains strong.

Both versions of Selassie's Song' utilize dub techno principles in new shapes and forms, far from the familiar Rhythm & Sound homages. Techy clicks & skittering percussion intertwine with the ancient sound of the binghi drum, signaling a seamless marriage of Rasta consciousness with an early morning eyes-down techno pulse & palette.

The A side Never Chained' mix marries double time hi hats and synthetic textures to a body-rocking half time riddim. Sharp snares cut through the dense atmospheres, like shots fired across distant waves, and the disembodied voice of Emperor Haile Selassie I intones timeless wisdom on the unity of humanity in spite of differences in race, creed, religion, or nationality. The tune's second drop leads into a 4/4 pulse that carries the tune into full dub techno territory, continued in even sparser style on the B side.

The Break Every Chain' mix strips away most of the melodics to focus on the heartbeat techno pulse, as metallic synth skanks rise and fall, hi hats deftly shift patterns and mechanical textures emerge and fade, a disorienting game of light and shadow. A masterclass in deep & esoteric dubwise as only Heights & Worship do it.

Mastered by Sam at Precise

Ltd. to 120 numbered copies inside recycled stock cardboard box, incl. mp3

Kohl is the dub-based project of New York City artist and musician Nathaniel Young. With Kohl, Nathaniel focuses on enveloping melodies and sounds that are often contrasted with subtle and evolving minimal textures and the rhythmic patterns generated from them. The resulting music is contemplative and warm, invoking reflection while maintaining a sense of motion/evolution. The Kohl project is an outlet for personal transformation, it is Young rewiring his understanding of morality and ethics. Interpretations of 'right' and 'wrong', 'good' and 'evil'. Musically, Learned Ethics / Imposed Ethics is a fine collection of ultra-textural ambient pieces with minimal changes like "The Possibility Of The Infinite", slow tempo tracks like "Moral Supposition", the dance-floor focused "Resolution (Empathy)", and "The Inquisition", which displays Kohl's signature dub-techno style.

Recorded and produced in summer 2016, NYC by Nathaniel Young. Vocal portions on tracks 3-4 contains dialogue between Nathaniel Young and Warren Mark Way. Mastered by Dino Spiluttini in Vienna. Design & photo by Daniel Castrejón.