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phat robert hood remixes!!!

+ mark broom rmx
+ the comedianz battenburg rmx

limited 6 track mini lp in transparent orange vinyl !!!

limited 6 track mini lp in transparent blue vinyl !!!

zwölf starke technotracks mit detroiteinschlag !! aber immer nach vorne !!!

the david duriez remix !!

einfach nur kompakt...

typische scheibe im kompakt kontext !!!

the new contrast records (michael burkat, andreas kremer, usw...) !!!

eine kanzleramt standort bestimmung bester güte !!! A diego, heiko laux & alexander kowalski - hybrid minds B alexander kowalski & dennis de santis - early flight C alexander kowalski & diego - mind time D alexander kowalski - diego - int a

OG 2002 12”s, Produced by Seamus Haji for Big Bang Theory Productions and Eric Kupper courtesy of Hysteria Productions. Seamus Haji and Eric Kupper do no wrong with this track based around a winning sample from Love Committee's 'Just As Long As I Got You'.

now back on stock!!!

kompakt brett ! klasse mixes !!!

mit schöner musik [A] kellerkind

A tony senghore remix

Those who expect dreamy home-listening from Family Lounge, could fall victim to conceptual conflicts of association. Family Lounge is analog Minimal-Techno, defined by Germany's electro-figurehead Anthony Rother.

typische minimale kölntracks !!!

Spinning Plates is back for another long overdue release, and this time it comes in the form of a split EP featuring returning artist Andy Rantzen and Laccy with two tracks each. The vinyl only release comes with very special screen-printed silkscreen artwork and is pressed on meaty 180g vinyl for an extra warm and deep sound. Andy Rantzen is a Sydney based artist who appeared on this label's superb second release. The '98%' track from it was used by Sonja Moonear in her Cocoon Mix CD shared with Carl Craig, and Andy is also well-known as part of the duo Itch-E and Scratch-E along with Paul Mac. He assumes that alias here for a remix of 'The Dial'. Laccy aka Pascal Sturmer is a young but talented artist who regularly finds himself behind the decks at cult clubs like Berlin's Club de Visionaire and the Spaced parties in London. A friend of label A&R Bruno Schmidt, he just released on Francesco del Garda's label Timeless, is a real underground head with a bottomless well of knowledge when it comes to cult sounds and scenes and is signed to the top Crisalida agency.

The unstoppable Spaziale Recordings set their sights on an absolute Paradise Garage classic from 1982 - the much sought after and instantly recognisable ‘Together Forever’ by Exodus. This fully licensed, remastered reissue comes housed in a full picture sleeve and contains a killer DEF Mix from Stefano Ritteri alongside the original extended vocal and dub versions.

Bursting with passion, ‘Together Forever’ is a record that was destined for greatness. A Larry Levan favourite, and for good reason. Produced by Errol Mattis and featuring one of the most sampled vocals in house music, there’s a triple threat of plucked basslines, clavinet power and joyful horns backed with the kind of percussion that ignites a rarely witnessed tribal energy within. It’s had crowds in fits of frenzies ever since its release and every collection deserves this gem nestled within it.

As well as the original extended vocal and dub versions, Stefano Ritteri steps up to add his own special touch, giving it some proto house power. He echoes and manipulates those fiery vocals, introducing each element gradually from the acid tinged topline to the layers of drum machine heat, gradually building the suspense to pure fever pitch.

Paris player Le Loup and Pura launch their new label Shadow Play with a four-track collection of avant-garde house music delivered boxfresh from the studio. As a solo artist, and one half of Hold Youth, Le Loup has cultivated a nuanced sound that is steeped in soulful jazzy influences, with a nod to the future and plenty of soul. On this first EP we're presented with a showcase of this sound, and a hint at what's to come on the brand new label... To get things rolling we have the very first track 'The Ancient Ways', which is quite laid back and minimal in its composition. There's breathing space for the beats and bass, with an eerie atmosphere pervading throughout. 'Ygam' is next up with a wobbly bassline, cosmic death rays and sinister effects lurking in the background - it feels like the soundtrack to a deep space thriller.

On the B-side things get ravey with 'Acid Surface'. Retro breakbeats and stuttered toms support a dangerously alluring symphony of effects and pads. At the heart of the track is a deep subby bassline, transmitting an ancient, yet cosmic vibe.

Shadow Play, the brand new label owned by Parisian artist Le Loup and his partner Pura, drops its second release courtesy of the bossman himself alongside Chris Carrier. The two men got together in the studio and cooked up some tasty goodness. The first of four tracks on this release is the intergalactic opus 'Phoenix Lights', which works off serene pads that transport you out into the cosmos, along with a warm, soothing bassline and electronic chirps and bleeps. 'Research Programm (Outro)' takes us into more obscure realms, as Chris Carrier and Le Loup sample a scientific vocal and create a mesmerising bed of sounds underneath it. On the flip we kick off with 'Clouds Reflection', another track which features a sample from an old instructional video. This track has minimal composition, with dreamy astral pads, shuffling beats and a grumbling low end. In the second half Chris and Le Loup introduce more twinkling FX, to engage and hypnotise you... To bring the EP to a close we're presented with 'V-Shape', which begins with a layer of clever drum programming aimed straight at the hips. Once you're moving get ready for the juicy bassline, and a sultry top end that grips you and gripping progression. The perfect to end an utterly fresh EP...

Pale Desert is the first release of the Australian born, Berlin based producer Ryen March. The name resonates not only the dry outback of his hometown, but it also mirrors the soundscape of the tracks - being completely raw and sweaty at the same time. The five track strong EP has it's core in the techno swamp but with the aesthetics of punk and EBM.

We're happy to have found a new friend from down under and beyond excited to be releasing March's first EP!

We’re extremely proud to present Leaving Time, a new EP by Christoph de Babalon. The EP has all the menace and grit that the Hamburg-born, Berlin-based producer is known for, but packs a potent, dance-ready punch that breaks new ground.

Leaving Time begins with the snarling subs ‘The Upper Hand’, and momentum builds through the panoramic breakbeats of ‘I Trusted You’ and dubwise groove of ‘Steps Into Solitude’ to reach the symphonic release of ‘Got to Let Go’.

This record encapsulates everything we love about Christoph’s music – it’s doom-laden, introspective and crafted with intent.

In short, it’s CDB on a 140 / fwd tip - fuck the chairs!

About Christoph de Babalon:

Christoph de Bablon first became known for his work on Alec Empire’s Digital Hardcore Recordings in the early 1990s and has championed a misanthropic take on drum and bass that has stood the test of time.

A punk-influenced fusion of jungle, breakbeat and dark soundscapes, his signature sound has become the stuff of legend – Thom Yorke once said Christoph’s pioneering debut album 'If You’re Into It, I’m Out Of It’ was the “most menacing record” in his collection.

After a brief hiatus composing music for theatre (we’d like to hear what that sounded like), recent releases on labels such as A Colourful Storm, V I S and AD93 have sparked renewed interest in the German producer, and with much excitement from his loyal following of die-hard supporters.

minimale schleppende technotracks !!!

DJ Slip's amazing Discography counts more than 30 releases on well-known lables like Missile, Music Man, Kanzleramt and his own Creation Rebel imprint. His productions are always this little bit different and sets them apart from the rest. Again DJ Slip surprises even those who know. Born and raised in Midwest America he started his music productions with Woody Mc Bride and DBN from Milwaukee. Slip's Homebase is nowadays Brooklyn NY where his Creation Rebel label and the studio are placed too. His brand new album "The Machines Will Know Who You Are" is his first real album and another groundbreaking step that shows his dissimilar sound creations based on electro, techno and instrumental hip hop tunes. The LP contains 12 stories told by the tracks and the guide Slip leads us through the world of strange percussion grooves, post-acid-times, electro bass soundsystems, bangin' techno club memories, chillin' nightflights, Brooklyn and the rough street-life sounds from New York.

Classic Stevie album! Featuring tracks like 'Too high', 'Living for the city', 'Higher ground and 'Don't you worry 'bout a thing' ao.

limited re-press of this summer anthem in the original sleeve !!! who is playing afro medusa ~~ check this one !! contains a remix by junior jack !!!

trax by misjah, grooveyard, dj tim und umek !!!

Features "Love Triumphant" from the Sound Sculptures CD, now on vinyl for the first time. "Spacebumps" is a brand new track.

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

"In 2021, we started the Mdou Moctar mixtape series. These releases compiled field recordings, cell phone voice memos, interview clips, conversations captured in the tour van, and blown-out board recordings from shows all over the world. As a continuation of those mixtapes, we present the Niger EPs, which examine the roots of the Mdou Moctar band. Early Mdou recordings were contained on cassettes, though the humble tape was soon replaced by the quick and easy facilityof cell phone technology. Long bus rides are common in West Africa. On one of these rides, you might be seated next to a stranger and ask "what are you listening to?", then a song exchange would begin over Bluetooth. This is a very real way artists found their music distributed far from home. In that vein, the Niger EP series features solely recordings taped in Mdou Moctar"s home country of Niger. Volume 1 begins the series with a mix of recordings from 2017- 2020, documenting the band at weddings, picnics, rehearsals, and even impromptu house concerts. A must have for any Mdou Moctar fan!" - Mdou Moctar bassist Mikey Coltun

ArsGoatia ist ein besonderes Geschöpf. Eine neue Formation mit vielen Verbindungen in verschiedene Richtungen. Es ist kein Geheimnis, dass sie sich aus dem Umfeld der "Funkenflug Society" und den Bewohnern der mystischen Neudegg Alm zusammengefunden haben. Die "Funkenfluag Society" ist ein Kollektiv von leidenschaftlichen Menschen. Sie betreiben eine kleine, aber feine Brauerei hoch oben in den Alpen, es gibt Kunst und Freiheit, Handwerk, Performance, Höhepunkt ist das Musikfestival "House Of The Holy" während der Sommersonnenwende. B.R. ist der Gründer und Mastermind des Festivals und Frontmann von ArsGoatia: "Wir alle bestehen aus Klang... Musik erleuchtet und verbindet Menschen! Unser Spirit ist es, Regeln zu brechen, Mauern zum Einsturz zu bringen und Grenzen zu überschreiten!"

"Agitators Of Hysteria" ist ArsGoatias zweites Album. Wütende Ausbrüche, die aus den Tiefen eines undurchdringlichen Abgrunds aufsteigen und luziferische Wahrheiten predigen, durchdrungen von Perversion, finsterer Bosheit, unerbittlicher Gewalt und Tod. Eine psychedelische Erfahrung wird vom ersten Song an versprochen.

Erstaunlich ist die Produktion von "Agitators Of Hysteria". Das Album wurde in den Q7 Studios/Deutschland von Michael Zech (The Ruins Of Beverast, Ascension, Hell Militia) aufgenommen und gemischt und in den Woodshed Studios/Deutschland von V. Santura (Trypticon, Dark Fortress, Celtic Frost) gemastert. T.K. erklärt: "Viele von uns schätzen einen lebendigen, feurigen Soundblast und diese Jungs liefern!

Profanität! Infamie! Fackeln hoch!

Iggy goes West! Soda Gong welcomes back Kansas City-based musician Iggy Romeu with his latest collection as Mister Water Wet. "Cold Clay from the Middle West" is a (characteristically) sharp left turn from his last two records, with Romeu offering up a surprising and addictive melange of crackpot Americana and smoky noir beat science. “Cold Clay Suite” opens the record, a five-part ride into the sunset that features Cooder-esque guitars, cat-gut fiddle, horse-hoof percussion, stadium organs, penny whistle, and bleary-eyed polysynth ruminations, among sundry other ephemera. Multi-instrumentalist Will Yates, known to most as Memotone, shows up three times on the album, lending clarinet, keys, guitars, banjo, sarangi, and vibraphone to these kaleidoscopic productions. It’s a wild ride of a record akin to following a dotted bridleway on a crumpled old map, marvelously variegated and stitched together as only MWW knows how. Get along, now.

Hui Terra. The dreamlike shape of the half-heard word, abstracts with faint impressions of bucolic landscape, or handfuls of translucent and brightly-colored gemstones that hold odd, elusive, asymmetrical form. This enchanting, gently surreal debut album from Alex Cobb's Etelin project explores the power and playfulness of impulsive action diffused through electro-acoustic and ambient sound.

This music was created with digital synthesizers and a sampler in the four months immediately following the birth of his first child, a hazy period marked by a lack of regular sleep and a diet of INA-GRM, Nuno Canavarro's "Plux Quba", and Microstoria's "Init Ding" - records that appeared to produce both stimulating and soothing effects on a newborn's nascent consciousness. Recorded and arranged at all hours, this is an album that reflects on moments of tumult and fragility. Cobb sews small sharpnesses and surprises into its movements to uncover different aspects of each sound source, doubling as hypnic starts cast to advance and variate the narrative in subtle and unexpected ways. Sound and atmosphere manifest in eccentric, alchemical fashion, as though forming in processes of sublimation - solids dissipating into vapor - and deposition - clouds resolving and dropping to the ground in piles - to an obscure and domestic rhythm. There's the purveying sense of moving within the boundaries of small, hermetic ecosystem. This is underscored and doused by a slow, blooming sense of warmth; growing joy without bombast. Even the more startling textures conceal this same truth and emphasis, such as the alien, sour salt-butter electronic babble in "Little Rig", largely sampled from Cobb's son's voice at just a week old. It is emotional music - devoted, affectionate, and playful.

Kaspi & Stride is a new project from Justin Tripp, best known as one half of the Georgia equation. Leanings has its origins in rigorous yet laid back studio sessions, dual personal practice sensibilities that seem to get at Tripp’s creative ethos as well as any descriptors might. The material here was born out of collaborative studio sessions with multi-instrumentalist Jimy Seitang (Conga Square/Stygian Stride) - the “Stride” of K&S. The music from these sessions has been reworked and recontextualized by Tripp to form the eight tracks found on the record. These compositions are heady and diverse, anchored by infectious drum patterns and intricate electronics, capably occupying a somewhat hard to define space between “club ready” and “home listening.”

“Vishing” throbs with a wide-eyed intensity, infused with the type of deceptively rudimentary synth stabs and bass swells that wouldn’t be out of place on an early Hype Williams record. With contributions from Mary Lattimore and Jon Leland, “Kaptoxa” charts a more ethereal, if no less dizzying, course. Indeed, this is an album that navigates dense, tactile passages and airy, celestial planes with aplomb, making a case for Tripp’s prowess as both composer and arranger with equal priority. The most important thing is to keep moving.

“A Typical Night in the Pit” is a collection of new music by Los Angeles’ Nick Malkin. It is an album that finds the artist absorbed in the density and chaos of the urban complex. It is unquestionably an “LA album”, but not the LA of hi-fi listening bars and twinkling, Instagram-ready New Age. Rather, Malkin navigates something more akin to the LA found in the films of Robert Altman or Alan Rudolph — overheated, tense, hazy, frayed — with blue-lit, nocturnal compositions that at times recall Mark Isham’s noirish scores for those subversive (anti-)Hollywood pictures. Enlisting a revolving cast of LA experimentalists, Malkin has assembled a record that is as chameleonic as it is cohesive, offering up vignettes ranging from the skewed MIDI-jazz of “Sixth Street Conversation” to the skulking menace of “Estacionamiento Privado,” before giving way to the wide-eyed, cloudy closer “View From Two Perspectives.” C’mon, let’s go in here and get outta this heat.

Mastered by Kassian Troyer at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

With Contemplative Figuration we see Broshuda pushing his amorphous, impossible-to-pin-down music in exciting new directions. Stitched together in various European cities over the last few years, it is the artist’s most dynamic and ambitious release thus far, drawing equally from musique concrete, beat research, ambient, tape collage, and spoken word. Episodic in nature, the collection functions well as a sort of impressionistic travelogue, with romantic, hazy atmospheres coaxed from borrowed equipment, serendipitous recording sessions with old friends, and even a drum sequence programmed with Mario Paint, among other curios and sleights of hand. Broshuda deftly wrings bonafide cohesion and balance from these disparate source materials, tools, and locations, as on opener “Kakigori,” which allows a snaking harmonic drone the space to evolve before exploding it into a sort of seething, dubbed out pointillism. Later, “Lied Für Hase” concocts a potent, humid atmosphere of beautifully evolving acoustic piano loops and elegant narration. Taken as a whole, Contemplative Figuration is a weightless, transportive record, one that is bursting at the seams with ideas, mischief, and a restless spirit.

Mastered by Helmut Erler at D&M, Artwork by Alex McCullough and Niall Wynne Lewis.

Under their exael moniker, Berlin-based producer Naemi makes highly imaginative music that can be seen as a study in contrasts - precise, hyper-detailed drum programming sits atop fuzzy, organic pools of ambience, virtuosic futurism is wrung from a falling apart laptop. Following a string of excellent releases, both solo and in group settings, “Flowered Knife Shadows” features eight productions that feel like the full realization of the project, demonstrating the artist’s range and knack for vivid, pressurized productions. From the dextrous, chops-flexing “Koch Metish” to the sanguine “Reality’s Sweetheart,” Naemi’s clarity of vision and instantly recognizable aesthetic are delivered here with remarkable potency. Frost on the window, whispers in the dark.

Motoko & Myers is the collaborative project of Bay Area-based duo Wonja Fairbrother and Daniel Letson. “Colocate” follows their 2018 debut release on the Open Hands Real Flames imprint (Bass Clef), further developing their distinctive style which combines melodic, pop song structures with live improvisation and odd or no-meter approaches to rhythm and timing. It is a collection of bright, addictive listening, full of tracks that manage to feel at once hooky and aleatory, naive and rigorously arranged.

Recorded and assembled sporadically over a period of several years, the album’s idiosyncratic palette was achieved through much technical and methodological eccentricity: “4-handed” collaborative keyboard playing; 12-bit sampling and archaic presets; field recordings of cicadas in Louisville, Kentucky and church bells in Freiburg im Breisgau. The album’s nine tracks exude a homespun quality that is rare to find in contemporary electronic music – hazy, warm, and disarmingly organic.

Soda Gong presents “Support Surfaces,” the new record by Alexi Baris, a musician hailing from Vancouver, British Columbia. Baris’ methods are patient and deceptively rigorous, trading in sonics that are at once organized and organic. Synthetic and acoustic elements are presented in sonorous states of perpetual flux, carefully amalgamated into structures of fertile ambiguity. His is a diligent and painterly approach to sound design and arrangement, in which tiny events are magnified and brought up close, and expansive gestures are repurposed and shifted in scale. There is an abiding quality to these compositions, sounds that have been hung in the air with remarkable restraint and left to float there, defined by texture, tone, and their own entrancing spatiality.

All music by Alexi Baris.
Mastered by Kassian Troyer at D&M.
Artwork and Design by Alex McCullough.

Over the past fifteen years, Florida-based multi-instrumentalist Eric Lanham has quietly generated a diverse and remarkable body of work both as a solo artist and in group settings. From the disorienting drone/collage ecstasies of Caboladies, his trio with Christopher Bush (Flanger Magazine) and Ben Zoeller, to wildly divergent solo flights under both his own name and as Carl Calm, Lanham’s carefully meted out recordings display the talents of a chameleonic composer who is as capable a sound designer as he is unconcerned with trend in experimental electronic music or notions of prolificness. “Objet Dirt” arrives ten years after “The Sincere Interruption,” his excellent longplayer for the now defunct Spectrum Spools imprint. Captured live, these compositions are brimming with kinetic, elastic, off-grid rhythms, an articulate and enigmatic language that restlessly darts around the stereo field. Of the collection, Lanham says "I haven't made a single piece of music that sounds like this since and it is hard to imagine doing so again.” If this is the case, the 20+ minute closer is a formidable final document. At once chaotic and tightly controlled, it is a torrent of coiling low-end, submerged and stretched rhythms, and seething high-end filigree that is as indebted to the hungry ghosts of free improvisation as it is anything resembling techno.