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The sensitive mountain » (la montagne sensible) is the nickname Alain Bashung came up with for Arnaud Rebotini. At the height of his fame, after the success of Fantaisie Militaire in 1998, Bashung readily agreed to create an album with Rebotini. The two men didn’t know each other; their record label had introduced them. Bashung brought in “Mortel Battement” and “Nocturne,” two poems by Jean Tardieu, which he recited in a voice simultaneously warm and flat, and Arnaud produced an impressionist soundscape that ended with an apocalypse of metal. Bashung was so proud of their collaboration that he offered to give several interviews to promote the record. Today, listening back to this moving Léo Ferré influenced "talking singing" exercise, it’s hard not to hear the template for L'Imprudence, the album that Bashung went on to record with Rebotini two years later. In a similar way, the album Organique sparked a productive partnership between Rebotini and filmmaker Robin Campillo, which resulted in their being awarded a César for Best Original Music in 2018. The director, who trusted Rebotini to create the soundtracks for his films Eastern Boys and 120 Beats per Minute, never kept his love for the 2000 record a secret.

Yet it’s an understatement to say that when it was released, Organique was not in the spirit of times. That year was all about the French touch. The funky samples of Modjo’s “Lady” and Superfunk’s “Lucky Star” ruled the sweaty dancefloors. Although Rebotini was familiar with the electronic scene, he had something else in mind when he set about creating Organique. Under his own name or under the pseudonyms Aleph, Avalanche, Black Strobe, Maison Laffitte, and of course Zend Avesta, he had already released several quite bizarre and experimental techno, house, or jungle maxi singles on pioneering labels like P.O.F., Source, and Artefact, run by his friend Jérôme Mestre’s, whom he had met back when both were working as record salesmen at Rough Trade’s ephemeral Parisian store. It was at Artefact, still financed at the time by Barclay and Universal, that he naturally proposed this record project, which was a bit "different." It was his first real album.

Arnaud Rebotini has never hidden his love-hate relationship with the electronic scene. He’s a fan of rave music, Rex, and later Pulp, but he listens mostly to metal and contemporary music, mainly American minimalists such as Terry Riley, Philip Glass, Steve Reich. He wanted to mix this genre with a more French aesthetic inspired by Debussy, whose unconventionality fascinates him. From the first suspended guitar note of Organique, you can pick up another influence, possibly poppier. In the style of Mark Hollis, the erratic leader of Talk Talk, whose only solo album’s silences and dissonances left their mark two years earlier, we hear the fingers touching the keys of the clarinet on “Ondine.” The instruments have presence, character. Nothing is smooth. Everything is organic.

Although it’s sometimes labeled as electronica because of Rebotini’s career, there’s nothing digital about Organique. No "pro tools" editing or samples, only programmed drums and some synth layering. And his guest vocalists. Playing the role of electro producer, he invited Bashung, of course, to join him on the album, but also Roya Arab, who Rebotini first spotted while she was playing in Archive, and her sister Leila, Gus Gus alum Hafdis Huld, Kat Onoma’s Philippe Poirier on the “Samuel Hall” inspired track “Qu’est ce qui m’a pris,” and former KaS Product member Mona Soyoc.

The frustration of a tour where he had "little to do on stage," the desire to sing himself, and the creation of the Black Strobe project, a haunting mix of blues and rock, stopped Zend Avesta from putting out another album. Eighteen years later, the Organique we rediscover today has lost nothing of its strangeness, nor beauty. When it came out, Bashung said, "What is interesting for a musician is to feel that you have a piece of wasteland in front of you, something to clear.” That remains true today.

To Celebrate The 6th Anniversary Of The Agency, Rotate Prepared A Hefty 4xlp Compilation Featuring Its Key Artists. 'rotations Ii' Is The Seven-chapter Follow-up To rotations I' Out In 2016 And Features Tracks From Most Of The Current Music Crafters In The Rotate Family: A Collection Of Personal Musical Excursions And Peculiar Studies Of Rhythm And Sound, From Artists Full Of Wit, And Grit. 'phase Five' (a1) Is Yuzo Iwata's Debut On Rotate And, Without Surprise, Is A Showcase Of Sonic Wizardry That Sets The Tone To The Entire Compilation With Its Dreamy (and Almost Delirious) Atmosphere And Marching Organic Groove. 'aphasia' (a2) Has Anestie Gomez Shifting The Gears To A More Minimalistic Sonic Palette Of Razor-sharp Drum Programming, Sophisticated Swing, And Deep Acidic Low-ends. The Flipside 'hypnosis' (b1) Is Leiris's Debut Solo On Rotate And A True Study On Reduced Raw Grooves And Abstract Sound-design, Wrapped In Amidst Of Hypnotic Mystery. 'partenaire Particulier' (b2) Brings Back Leiris Together With Ben Vedren As "monkey Nenufar": A Spellbinding, Steady-beat Ride Full Of Joyful Chords And Filtered Echoes For Certified Euphoria. Levi Verspeek Kicks The Flip-side With 'paying 420' (c1), A Focused 4 By 4 Excursion Focused On Groove And On-point Sampling Of Minuscule Percussive Loops Teeming Around A Central Pulsating Bassline. Funky, Vibrant And Full Of Emotion, Pit Spector's 'back From Cdv' (c2) Is A Love Letter To The Esteemed Club Der Visionaere, And An Ode To The Micro-house Aficionados, Especially Those With A Soft Spot For Latin Rhythms. Denis Kaznacheev's 'poromechanics' (d) Is A 15-minute Sonic Delirium Through Startling Soundscapes, Sweltering Rhythms And Barely-sane Micro-sampling, Ultimately Setting A Hypnotic, Enigmatic Tone To The Closing Of This Compilation. "rotations Ii" Is A Versatile Comeback To This V.a. Series Where Rotate Artists Can Be Themselves, Loyal To Their Own Sound And Their Very Distinct Personalities.

Parallel Minds Is A Group Of Like-minded Musicians, Djs, And Graphic Artists Working Together To Bring Compelling, Progressive Electronic Music From Toronto, Canada To The Rest Of The World. Spearheaded By Ciel, And Newcomers Daniel 58, And Yohei S.—who Have Variously Released Music On Labels Like Shanti Celeste's Peach Discs, Allergy Season, Coastal Haze, And Neo Violence—the Collective Offers On Its Inaugural Va Release Four Diverse Cuts Of House, Breakbeat, And Hardcore To Energize Your Body And Comfort Your Soul. The A Side Features Two Slamming House Cuts, With The A1 Offering By Discwoman Signee Ciel And A2 By Yohei S. Clocking In At A Frenetic 134bpm, "hind Sight Is 360" Is A Peak-time Dancefloor Banger Featuring What Has Become Trademark Characteristics Of Ciel's Productions: Intricate Drum Programming And Lush, Jungle-inspired Pads. "eastern Rankin" Is A Slower, More Hypnotic Percussion Track That Demonstrates Incredibly Effective Use Of Space And Delay. Its Minimalist Structure And Echoing Drums Would Sound Ideal In A Dark Warehouse. The B Side Opens With An Even Bigger Bang, With A Track That Would Best Be Described As Indian Hardcore. "mana Sadhana" By Raf Reza Under His New Alias, Radiant Aural Faculty, Is A Vibrant Mixture Of Hindi Vocal Samples Layered Meticulously In Between Freaked-out Synths And Thumping Breakbeat Drums. Completing The B Side Is The Aptly-titled "space Bubble" By Daniel 58. Drawing On Influences From Ambient, Trance, And Breaks, The Promising Toronto Artist Closes Out The Release On A Dreamy Note, Employing Nostalgic Melodies On Top Of Tough-as-nails Drums And Deep Rolling Sub-bass. As First Releases Go, Parallel Minds One Offers A Taste Of Something For Everyone, From A City That Has Perhaps Been Overlooked But Deserves A Second (third, And Fourth) Listen.

Vid has grown to become a driving force in the contemporary minimal house scene in recent years both on his hometurf, Romania one of them most important regions for this sound, and across the globe. Racking up releases on the likes of Pleasure Zone, Andromeda, Brouqade and of course Sound Of Vast where he returns here for his fourth EP on the imprint.

Title-track 'Life Of Dreams' leads, laid out over thirteen minutes with murky atmospheric textures, warbling sub bass tones and eerie voices ebbing and flowing amongst a dynamic arrangement of organic percussion. 'Povestea Ei' follows, rhythmically shifting things in broken territory via jazz-tinged off-kilter drums while poetic spoken word vocals, modulating synths and stuttering bass tones further fuel the mind-altering feel. 'Povestea Mea' then rounds out the release, this time round embracing a cinematic feel and employing emotive strings, bubbling synths and minimalaistic pops, clicks and whirrs at its core.

Cologne is Danny Lane and Vasilios Manoudakis - a photographer and a ship captain who make songs together. Vasilios works as a boats captain in New York while Danny stays landlocked, producing tracks and hustling work as a photographer/actor in Los Angeles.
The two communicate with one another through music, sending loops and snippets from wherever they happen to be, independently writing pieces of songs that smoothly snap into
place. Throughout this, the two share a thing for synths and classic pop, creating songs that are warm, relaxed, and inescapably catchy. Though their influences range from 80s dance music to minimal house and ambient music, they see Cologne as something new and have a very pure idea of success: If people like it, we are happy. Vinyl tastes better...

The Indigenous - A Minimal Jazz House Track With A Climax. Perfect For Starting Out Or Finishing Off A Set.

Stand Alone - A Driving Track With Chaotic Vibe That Fits Nicely In An Up Tempo House Set

Adrift - Minimal Techno That Builds Into An Atmospheric Groove.

Red & Black Flowers - Some Call This Chicago House And Others Say It Leans More To Techno. A Stormer With A Detroit Chord And Vocal Samples From the Warning'.

These Tracks Were Recorded At The Vibenotic Recording Studio With The Following Instruments: Clavia Nord Lead 3, Korg Minilogue, Elektron Monomachine Sfx-60, Machinedrum Sps 1uw Mk Ii, Analog Keys And Digitakt.

The new sampler on Siena has arrived! Number 4.0 is a real dance floor filler. The A1 comes from Lonely Planets Records artist; Sinan Alakus, who opens the EP with his raw drums and sharp synths. To keep the A-side housey, A2 is collab between the mates Tetelepta & Amro. Rollin' bass and smooth melodies. House 2 tha Bone it is!

On the flip, Tom Liem opens the B-side. A perfect dreamy minimal joint. Jocelyn, who had his debut EP on the main ESHU Records last year, delivers the last one on the EP. This B2 is a badass trip you don't want to end. Mean body in the low end, spacey chords on the up. From the start till the end you will dance!

Third LP of Cabaret Contemporain, French band (featuring Fabrizio Rat on keys) who use acoustic instruments (piano, guitar, bass, drums, contrabass) to produce a « hand-crafted » club music infused with techno. Inspired by Jeff Mills, Robert Hood or Drexciya, the five members already had a career on classical scene; their idea is not to replay classical techno tunes but to create a new path for the electronic music. 2 tracks featuring with the label boss, Arnaud Rebotini.

« Ballaro », which opens Cabaret Contemporain's third album, begins with light percussions, which seem to turn on themselves, while being conveyed by reverberations close to dub. After a few minutes of convolutions, the piece gets out of hand, transporting the listener into a rich form of pulsating trance, irrigated by a soaring melody and punctuated by persistent piano tones. « La selva »; more subdued, has the same energy, the track ending in an even more powerful way, a kind of paroxysm.

Finally, the strangest and most minimal « Cactus », features a singular groove, which evokes the most brutal house from Chicago, or the sometimes obsessive techno from Detroit. Just like other tracks such as « Transistor » or « TGV », fuelled by sweat and trance, Séquence Collective bears all the intensity of a techno cut for clubs' dancefloors. The only difference being that their music is not played with synths, drum machines or software, but with acoustic instruments. Dual curriculum The band is composed of five musicians and a sound engineer: Fabrizio Rat on piano, Giani Caserotto on guitar, Julien Loutelier on drums, Ronan Courty and Simon Drappier on double bass and of course Pierre Favrez on console. They are all in their thirties and met at the prestigious Paris Conservatoire in the late 2000s. However, all the musicians in the band have a double curriculum and navigate freely between the institutional realm and the underground or pop music scenes. Through classical or contemporary music, jazz and improvisation, rock and experimentation, they share a common passion for the original and futuristic techno of the 1990s, that of Jeff Mills, Robert Hood or Drexciya, which they have decided to reinvent and further in their own way. Not as a simple stylistic exercise practiced by virtuoso musicians, but rather as a new path for modern music, and for their generation. « The original idea » they say, « was to make club music by hand, like craftsmen. Like in the early days of jazz, our band managed to transform itself into a kind of dancing machine. Our music is therefore functional because it is danceable, but also mental and abstract, while offering several layers of listening. You can dance and play, have a purely physical and sensory connection to the music. But you can also immerse yourself in its listening, perceive refined harmonies or more complex rhythmic superpositions »

If the tones of Cabaret Contemporain are truly unique it is because each member of the band has developed a very personal approach through the use ''prepared'' instruments. The strings of their piano, guitar or double bass may recall strange machines with literally incredible sounds, obtained using objects such as chopsticks, clothes pegs, foil, hangers, a tiny pie mould or many other utensils from a DIY store. A collective energy

Cabaret Contemporain is first and foremost a live band that has been performing in venues and festivals since its inception in 2012 (Nuits Sonores, Siestes Electroniques, L'Aéronef, Le Trabendo, Philharmonie de Paris, Gaîté Lyrique, Rewire, Dancity, Barcelona Accio Musical...), both at traditional jazz and contemporary music venues, and more often at electro music hubs. When facing the audience, the band, which plays each of its sets in one go, without a break, shows an intense physical presence, which competes with the musical power of DJs who share the stage with them. Their performance, full of tension and repetition, which requires maximum concentration and a state close to trance from the musicians, is sometimes, according to them, « a mental journey and a mystic experience ». A dimension that brings to mind the historical techno culture and its dancers who, communicating on the dancefloor, were carried until the early hours of the morning by the power of the beat. An album inspired by the stage Since their beginnings, their compositions on record have drawn their energy directly from the practice of their concerts, whether referring to Terry Riley (2014) or Moondog (2015), an EP and an album dedicated to the repertoire of the two American artists, the original compositions of Cabaret Contemporain (2016) and Satellite EP (2017), as well as this new album. Séquence collective can be listened to as a condensed transcription of their inventions and their live experiments. The tracks, more than half of which were improvised during sessions held in the former Vogue studios near Paris, were recorded in live conditions, « like an old school rock band » they say. As usual, they invited a new musician to join them in the studio. After collaborating with Étienne Jaumet or Château-Flight, Arnaud Rebotini, César winner for best film music, added a welcome synth touch on two tracks (Pro- One, Prophet 600), which boosted the group's formidable collective energy. The album ends with « October Glide », again performed with Rebotini, a lyrical and lively track, built on a powerful and slow progression of timbres and percussions, which would ideally find its place at the core of a techno party « peak time »

This March, the New York City-based imprint Absence Seizure will see its joint founders Abe Duque and Matuss join forces once more to deliver 'Seizure No. 11', following up on their recent collaborative effort 'Seizure No. 10' with another four tracks of soulful, stripped-down techno.

The EP begins in quintessential Duque fashion, running quirky and soulful melodies over a throbbing bassline and emotionally charged synths, whilst tying in the acid sounds that have been a staple of his music since his very earliest releases all the way back in 1993 as a regular in the New York wave of acid house and underground techno. '22 October' presents us with a progressive and skilfully executed cut, toning down some of the more muscular techno he sometimes produces in favour of a more freeform and chilled out vibe that layers funky synth melodies over bouncy rhythms and drawn-out sonic ambient textures.

The baton is then passed to Matuss for the remainder of the EP, beginning the journey straight off the bat with 'Between 4AM and Basement', beginning as an altogether more threatening number than the release's opener. The minimalism of the stripped-back beats instantly builds a dark atmosphere, creating a compelling flow through the track that opens up into a shuffling house-tinged beat and dreamy background soundscapes that carry you gently along for the ride.
The muted rhythms of 'Meet You at the Back Door' morph and skip around from one beat to the next to forge a jumpy and infectious musical trip that will instantly catch you up in its driven grooves. The EP's finale 'Moon Guardian' then opts for a different tack entirely, starting out with a confident, breaky beat and adding layer upon layer until the track reaches an exhilaratingly multifaceted climax. Unsettling cosmic ambience, distorted vocal samples, crescendos of noise and the ongoing and constantly evolving beats are brought to a perfect balance in this track, bringing the EP to a mysterious and gripping conclusion.

For Phonica's landmark 25th main label release we present the latest 12' from Will Saul.

Will is known to many as the man behind Aus Music and prior to that Simple Records as well as an excellent recent mix for the highly respected DJ-Kicks series. If that wasn't enough to keep him busy he has produced a sizable back-catalogue for his own labels and the likes of Kompakt, Buzzin' Fly and Systematic.

Will's relationship with Phonica goes back a long time, as a core member of staff he worked in the shop in its early days and needless to say, we've been following his career since day one, so it feels right that he returns to Phonica, though this time as an artist on our main label.

A prolific producer, he's explored everything from Micro-House and Minimal Techno to Deep House and Acid. For the 'Lakeside EP', Will unleashes three peak-time House tracks, starting off with the anthemic 'For Joanie' and its heartfelt vocal loops, onto the uplifting and euphoric 'Drama' before rounding the record off with the late 80s electro-pop vibes of 'Never Enough'.

Italian duo Neverdogs mint their brand new label Bamboleo Records with a powerful four-track EP that serves as a fine statement of intent.


The label will focus on house, techno and minimal with a funky edge. As well as their own material, it will release big names from the international scene and aims to inspire and generate new emotions for the dance floor.


Up first is the thrilling 'Underground Activity', a dubbed out deep techno roller. It has warm chords bringing plenty of scale to the slick, kinetic drums.


The superb 'Solution' is a more churning, lively tech cut with wobbling hooks and metallic drums. It's one to get the floor moving, with dark vocals finishing it in style.


Keeping up the dynamic dancefloor vibes, 'Stop Talking' slips into a moody and stripped back house framework, with dry hits echoing out into a cavernous atmosphere. With real swagger and cosmic overtones in the keys, it's another excellent side to this pair's sound.


Last of all, 'Destination' is a dramatic vocal DJ tool with broad synths and molten bass all warping round each other.

Rich NxT's 'The Brigade' EP was a 2018 cross over highlight. Thematically linked to its predecessor, 'Hard To Be' stands as the unofficial follow up.

Rich's last outing for the influential imprint was large by any standards, spreading far beyond the FUSE dancefloors finding support from many places. Led by EP track 'Serious', which was heralded as one of the tunes of 2018 by Mixmag in their mid-year review, it got love from Seth Troxler and the Martinez Brothers at Circoloco, alongside heavy rinsing of 'Brigade' and 'Eight' by all the FUSE residents.

The 'Hard To Be' EP comes as another on-point three-track work from Rich that channels the same versatile spirit. 'Wah' is an uplifting slice of original house, mirroring the accessibility and fun of 'Serious' with a catchy riff that runs throughout. The track created an enormous buzz on the IOM group with hundreds of comments and I.D requests pouring in throughout the year, and soundtracked parties everywhere from Fuse's raves at Studio 338 terrace in London, Sonus festival and The Martinez Brother's Cuttin' Headz at ADE. 'Interrobang' is head-nodding brilliance as twisted bass and sampled attitude characterise the seven-minute peak time banger. 'On The Rocks' rounds out the EP as punchy kicks and buttery smooth bass mark this work of grooving minimalism, echoing the spirit of Fuse029's 'Eight'.

And so closes this chapter of Rich's impressive body of work. In the process it's proved what we already knew all along; his knack for providing fail-safe dancefloor ammunition for the Fuse faithful and beyond, remains as strong as ever.

Deep, raw and real Then NY*AK is the man! Andrew Scott has been releasing superb bottom heavy deep house groovers for many years on various top labels (like Local Talk, Paper or Ninja Tunes Technicolor). Now its time for Quintessentials! The A-side features after the sun, a deep, minimalistic and sexy groover, and mind, a blissfull and rich low BPM tune for an early morning come down. The B-side starts with vice, a proper Detroit track bassline, strings, rims and snares - and finishes off with the funky and mellow onions. Deep, raw and real NY*AK anytime!

Duckett returns to Wisdom Teeth with another otherworldly four-tracker of melodic, trippin' house-n-techno. While recent outings on Berceuse Heroique and Solar Phenomena have showcased the more abstract edges of his sound, Corde Raide Vers Nulle Part comprises a collection of the Welsh producer's most melodious work to date. Throughout, the tracks are driven by snaking FM basslines, shimmering video game synths and tonal drums, creating a record that will appeal equally to fans of golden era Night Slugs, bleeping minimal techno, and the compositional electronica of labels like RVNG International and Latency.

Black Label Series 03 on Banoffee Pies Records welcomes new additions to the fold with another low slung collection of minimal house and breaks. Opening with patient mystery the label debut from Monotronique delivers 118 bpm sample heavy 'Baggage With A Secret'. Nicely warmed, the A2 turns for the floor with Freerotation resident Tom Ellis in control on 'Third Morning', a groovy roller with glitched vocal loops. The curveball of this release comes on the B1 with a garage inspired high tempo d&b track, '23 Ghettobee' from Filip Szostak - One to cool or shake the dance. The B2 invites Lyssna Records own Flord King with another micro gem for the head bopping late nights on 'Shanti'. Together the four tracks investigating different moods with a similar style. BP X

Local Talk are proud to announce the first artist EP of 2019, 'Basic Knowledge' by producer extraordinaire Boddhi Satva, showcasing his unique quality and musicianship.

Basic Knowledge comes with two mixes.
First up is the 00's mix, a near-epic track, riddled with emotion and deepness, certain to cause more than just a few goosebumps. The key stabs and strings makes this one of the deepest cuts of house we've heard in a minute.

On the flip 'Together' is another elegantly realised stylistic track where all the moving chords are exposed and pushed to the front. A grand tour through the deep-rooted rhythms with a minimal yet spiritual sound.
Last but not least is the 90's mix of Basic Knowledge. It takes all the ingredients from the A side mix and infuses it with more jack, together with the kicks, snares and the swollen bassline.

Rise black - Agressor EP Moustache Records 038 delivers us 5 tracks from the dark side of Spain! The first is named: "Black snake" this is a dark pumping electro track with 808 snares topped off with some evil voices and other trippy scapes.The A2 track: "Jack in the box" is where the true mental madness starts, a drum minimal groove electrobass track that could go on forever and ever till the loony house. On the flip side B1 "Sulfrico" deadly acid electro for the retards. B2 Mythos is the sound from Sparta Greece 100 v.c. Distorted kicks and snare drums that could deliver you a bloodnose. The last EP track is the title track of the EP called: "Agressor" this song is a story about the sheeps of Satan, very raw noisy percussion drum sounds, space bleebs and other aggressive electro sounds. Let the magic and madness begin... Welcome to the Moustache Records family. Rise Black is rising..

Only four releases into it's blossoming back catalogue, and Molly's RDV label continues to establish itself as an unmissable outlet for contemporary house and techno with an EP from long-established, always-vital German producer, Dana Ruh.The twitchy, rhythmic 'Natural High' sets the rhythm, ideal for those easily seduced by Ruh's indelibly tight drum work (or those about to be converted to it nonetheless). 'Moonday' then expands the sound with a deeply satisfying bassline that blossoms in myriad evocative directions, incorporating trippy acid fluctuations, haunting vocals and a general sense of strobe-lit urgency.On the flip, and 'Vattenfall my A' establishes the energy which which it shares its namesake, trading in a minimal but flexible bassline and eeking out each ounce of tension, in the confident, minimalist style Dana Ruh is beloved for. To close the EP, Molly herself takes 'Vattenfall my A' to task, tunneling deeper still with a remix that establishes several shades of fresh, sensual ambiguity, not to mention, an ominous bassline that flirts with the edge.

Austrian Ken Hayakawa keeps up Stripped Down Records' fine run of form with two new tracks that get remixed by John Tejada and Whitesquare.

Hayakawa's mother is Japanese but he hails from Salzburg. He is formally trained in piano and has performed Beethoven's music in a number of prestigious venues. That melodic, minimalist style still informs his own output and over the last decade has come on the likes of Audiomatique and Upon.You.

Superbly soothing opener 'Sonic Wave' is a brilliantly warm and spaced out deep house track that voyages into the cosmos. Dreamy pads drift by as muted acid lines flesh out the supple, subtle drums. It's a late-night groove to really get lost in.

American tech house titan and long-time Kompakt associate John Tejada steps up to remix and takes things even deeper, with pulsing, sonar-like acid blips and icy hi hats all working on melting your mind as warm, gurgling bass drives things forwards.

It is Italian producer and DFTD, 2020 Vision and Freerange house master Whitesquare who then remixes. He brings plenty of spine-tingling chords to his version, which is deep yet driven, with layer upon layer of rich sound all oozing real soul.
Hayakawa then finishes things off in style with 'Lost,' a brilliantly atmospheric track that is cavernous, dubbed out and finished with exquisite ambient details that cannot help but calm you.

This is a beautiful EP of deep, dynamic house music.

Welcome the new vinyl only iprint "Brookly Bridge Music" The first release comes from Lose Ends. 4 Beautiful minimal funky house cuts. Worth to check!

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in the same year as Synthesis over on KPM, 1974's Synthesizer and Percussion is its essential companion piece. 'This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos' is the even more underwhelming than usual library record sales pitch for
Alan Hawkshaw and Brian Bennett's second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good.
This is one of Hawkshaw and Bennett's wilder joints and aeons ahead of its time.
Bennett's tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw's deranged clavinet-funk-rock. There are heavenly break loops galore.
Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break.
"Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force', 'Home Run' and "Pacesetter" for electroid prog-funk dripped in acid squelch.
All fve fnal tracks are beatless synth workouts, because they can.
As with all ten re-issues, the audio for Synthesizer and Percussion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Few producers can capture atmospheres and moods like Heinrich Dressel. The Minimal Rome boss left jaws on the floor with his first appearance on Bordello A Parigi, The House of the Rising Synth demonstrating the breadth of this Italian musician's sound. Now Dressel returns, this time with a full eight tracks for Lost in the Woodland. In this analogue forest anything is possible. From the whimsical resonance of the title piece, a sonic pathway through a verdant soundscape is laid. Gentle melodies caress and embrace before the road bends into shadows filled with dramatic twists and unseen dangers. Romantic moments are juxtaposed by triumphal chords and daring drums signalling immediate panic or outright victory. This is a woodland of divergent emotions, one where sounds give way to feelings and where Heinrich Dressel is the piper leading his followers through what can only be described as an unforgettable journey.

Play It Say It welcome New York artist David Berrie for a first EP on the label and one that offers three dynamite pieces of punchy, high impact and inventive house music.

Raised amongst the diverse culture of NYC's nightlife, Berrie started sneaking into clubs as a youngster and since then has risen through the ranks to have now played iconic rooms like Output NY and DC-10 Ibiza. Fusing his musical history with other genres to create his own, unique style of house and techno, David has taken his passion to the studio and served up essential tunes on Hot Creation and Cuttin' Headz.

Opening the account is 'Revolution', seven superbly programmed minutes of slick and involving house beats and knotted bass. It's a restless, body shaking track to make the floor move with futuristic synths fleshing it out and bringing a vital sense of machine soul.

The equally compelling 'JB Loop' is another dynamic bit of electronic house music. Rubbery drums bobble and bounce about with wild computer sounds and infectious bass all ramping up the energy levels and making for a standout track.
Last but not least, 'Rear End' is a supple, intricately designed track with slippery synths, spinning hi hats and bass surges all wrapping around each other to make for real minimal funk. It's a track that oozes Detroit vibes and cannot fail to sweep up the floor.

These are three characterful and masterfully produced cuts of high-class dancing music.

Friendship. Gratitude. Music Passion. Turbo Recordings is proud to present the feel-good story of the year with the debut release from Tiga & The Martinez Brothers.

"This is a true labour of love,' says Tiga. 'Two of the most refreshingly positive figures in dance music teaming with me, the heartless cynic with a heart of gold. Positivity and actual quality: the best of both worlds."

Tiga was originally meant to produce tracks for the DJ duo, but the sessions soon evolved into a full-fledged collaboration. The three men manned the studio in psychic unison, laying real-time drum programming and minimal storytelling over a techno foundation to create a truly dynamic dynamic. The result is some of the best work of their careers.

'Chris and Steve brought a deep knowledge of house music and DJ energy-flow, while I left my deep hatred of live studio jam sessions at the door," adds Tiga. 'These tracks are tougher, funkier and weirder than 99.3% of contemporary dance music, and it's all because we were brave enough to get sincere and real."

The material was written and recorded over the course of two sessions at Montreal's Lost Star Studios, a haven for vintage gear and laid-back vibes right out of your most casual dreams. It was easily the most fun anyone's had in a studio since 2014.

"You can keep your VIP laminates and hot flavors of the moment,' concludes Tiga. 'I'm here to tell you that there's nothing cooler than the magic of friendship.'

Part II of the collaboration is set for release on The Martinez Brothers' Cuttin' Headz label under the name The Martinez Brothers & Tiga, an inspiring nod to the importance of fairness in project credits

In just a year of existence, Chloé's Lumière Noire has brought emerging artists and promising newcomers together - and this first compilation of 13 brand new tracks expands the roster, exposing the label's eclectic vision in full daylight. When Chloé talks about her label, she puts forward the fundamental values that informed her own musical journey, her trust in her own musical taste - and, of course, the predominance of human relationships: 'I followed
my bliss and only commissioned tracks from artists that I respect and whose music I love. That to me is Lumière Noire's musical palette.' With this 13- track, unmixed compilation, Chloé makes a case for a label aesthetic that is based in open-mindedness. Familiar, elemental Lumière Noire artists are represented, as are new faces, producing a kind of group photo presaging what's next for the fledgling label. Lyon's Markus Gibb leads the track listing with Kuru with a deep chiaroscuro matching the label's ethos, followed by other mainstays Il Est Vilaine's Farenheit 451, which evokes Ray Bradbury's retro-dystopic angst with the
band's usual electro-pop elegance. Sutja Gutierrez, who released in debut EP, The Legend of Time on Lumière Noire in April, pursues his electro Shamanism with the ceremonial Allodoxaphobia, while Iñigo Vontier (whose EP Aluxes came out on the label in late 2017) brings his C O N T R A project
online with track Taurus, a further development in voodoo house. Elsewhere, Suuns lead singer Ben Shemie, who lent his fascinating art-rock croon to Recall, a single from Chloé's Endless Revisions LP, contributes A Million Kinds, a synthy, psych-pop debut that is as brilliant as it is surprising. On to the freshman class: Dutch producer Drvg Cvltvre (who gets personal kudos
from Chloé with each new 12') brings the uncompromising dark electro of his hypnotic and claustrophobic Last Rites. Jonathan Fitoussi's airy, minimalistic Cercles Polaires brings the respite of his recent Versatile Espaces Timbrés LP (a collaboration with Clemens Hourrières): 'I met him at Xavier Veilhan's
Studio Venezia at the Venice Biennale. He's a great guy, and his universe is unique,' says Chloé. Benedikt Frey's deep techno track Iaon, is on par with his smash 2017 album, Artificial, out on ESP Institute. First-timers are also part of the recruits: Bajram Bili with the ten cerebral minutes of Restart, Théo Muller with the ultra-deep Douce Transe, and Lumi, a Basque band that fuses
electronic sounds with acoustic instruments, brings the ompilation to a close with a track commissioned by Chloé. These audacious choices are anchored down with the likes of Permanent Vacation pioneer Lauer's hooky, 80s-infused Pythor ('Just like him, I was a resident of the Robert Johnson, and he was a guest of mine at one of my Lumière Noire nights at the Rex. He is one of these people whose music I highly appreciate'); Aergeworc & Franck Agrario, half of English duo Swayzak David Brown's project, weaves an ethno* mood into Grace's techno. Bringing together different generations, genres, and styles That may not necessarily be Chloé's MO. She invokes a more arbitrary, personal logic: 'I like to mix of-the-moment tracks and more timeless one, but the rule is above all 'do I love this or not'. That was my ethos when I started Lumière Noire.' In that way, the label is definitely in keeping with its time

Aperture records has always been about discovering new artists and bringing them to the forefront and italy is well-renowned for its electronic music, both former and current. so, from one italian duo (t.e.s.o.) to another... introducing Diaster.
Diaster aka Teo & G grew up in treviso, listening to the most experimental music they could find in their small rural city near venice.
With Matteo inspired by metal and musique concrete and Gianluca a researcher of old electronic/instrumental music, they decided to experiment with their various experiences in house, techno and drum n bass, inserting strata of industry and noise into their material. after 'Enchantments', a debut ep on DVNTT which deserves more recognition, and an accomplished follow up on Subsist records; 'Final Beginner', aperture records brings you their latest contribution; 'Clustered Non Symmetry'.
On first acquaintance, this 8 track album appears on the minimal spectrum; monolithic and indivisible. tension builds slowly and influences, mostly of a similar vintage, come through. arrhythmic incursions of stark and contorted electronics conjure up a hesitant, stealthily-undermined delineative framework.

Here we see San Proper and The Mole make a welcome return to the imprint following solo EP's, this time they join forces with Hreno for a three track EP from the powerhouse trio.
Leading on the package is 'Friendly Tears' which features yet another leading figure in the house scene, Dekmantel regular Tom Trago, as you'd expect from such an impressive array of artists we're treated so soul drenched house driven by swinging organic drums, infectious funk licks and hooky synth lines before the 'Chunkless Mix' strips things back a little, laying focus solely on the 80's tinged synth work, delayed vocal murmurs and
minimalistic percussion.'On The Floor' then rounds out the package, retaining a similar aesthetic with choppy guitar melodies, penetrating bass stabs, crunchy rhythms and resonant arpeggio synths ebbing and flowing dynamically throughout.

Warehouse Find!

Helsinki-based producer Saine makes his Delusions debut following amazing output on such revered labels as Voyage Recordings, Odd Socks, Omena and Fina. A producer who can flit from hazy instrumental hip hop through to raw, dusty house at the flick of a switch, Saine has built a solid following amongst lovers of left field leanings we've come to expect from the likes of Max Graef, Glenn Astro, Henry Wu and Leon Vynhall.

On lead track Act Natural we find Saine in perhaps his heaviest mood to date, delivering a crunchy uptempo house jam which retains his unique sound despite being aimed firmly at the dancefloor. A speaker wobbling eighth note bassline locks down the groove whilst familiar, much-loved frag- ments from the rave days punctuate the crackling beats. Add to this some simple syncopated chords and you have a winning formula for a timeless track which looks to the future whilst respectfully doffing it's cap to the past.

Jus Right continues in a deeper, more musical fashion with Saine getting busy on his synths, building up layers of warm pads and soloing Moog lines. A prominent vocal brings a soulful touch whilst the minimal, almost hihat-less groove adds an original and fresh feel to this blissful track.
Flipping over we have Low Key, a shuffling deep house number loaded with sliced Rhodes samples, echoing vocal hits, clipped percussion and sublime bass. As the atmosphere thickens, everything falls away to silence before rebuilding, creating some nice tension in the arrangement.

Finally we have Pontchartrain offering up an excellent remix of Jus Right. The Detroit native responsible for some mighty fine releases for the likes of Rocksteady Disco, Lovedancing, Soul Clap, Kolour LTD and Whiskey Disco takes things in a more straight-up house direction with heavier beats, 909 hats pushed to the fore and a distinctively old school feel to the mix.

South African gqom pioneer and producer DJ Lag is set to release his new 'Stampit' EP via London label and collective Goon Club Allstars. The new release follows the 22 year old producer's acclaimed 2016 self-titled debut EP for the same independent imprint. The EP follows the release of his first single, the thrilling dance floor heater '3 Step Culo', which draws from the hard-hitting percussive sound of gqom made up of searing synthesisers, broken beat and hypnotic vocal samples to create a darker, bass-driven strain of house music. The EP follows his self-titled debut to showcase his keen talent for crafting charged, minimalist genresplicing sound. 'Let's Do This' exhibits an intense and euphoric big room feel, whilst 'Drumming' and 'Switz' display tense, potent drumwork and sparse & spectral club patterns. Also known as the 'Gqom King', DJ Lag was at the forefront of shaping the futuristic, explosive sound of gqom, the raw and distinctive style of drum-heavy dance music originating from the underground scene of Durban, South Africa in recent years and swiftly proliferating across the internet through the spread of social media and gaining international recognition. DJ Lag's latest outing delves into the infectiously rhythmic and high-energy sound palette of his previous works, recorded fully in his home studio in Clermont, South Africa.

Timeless minimalistic house with a jazzy twist coming from Finest Hour's co-founder Pablo Tarno. 'Interpolarity' lives up to its name!

(comes in different coloured sleeve we cannot guarantee which one you will recieve)

Building on his very sexy works for the Borft weirdos, Jon Doppler's Security is a meeting of Sued's minimal funk sound and the post-acid house trip of early Rephlex. The elasticized acid of Ciphertext, the skanky dub of Wonwah, and the mammoth low end of Lag Down all propel from below, while the swollen synthwork on Hot Sauce and showstopping
MK650 inspire from above. These are late, late night jams that growl ominously in the bassbins, enhancing the foggy atmosphere and begging you to stay for one last dance.

Dancefloor oriented minimal house vibes from Italian finest veterans of the groove. Supported by Sonodab

For over 18 years, Spectral Sound, the dance music imprint of Ghostly International, has thrived at the forefront of techno and house. It has been a source of support for numerous DJs and producers during that time, from Matthew Dear and Benoit & Sergio to Avalon Emerson and Hieroglyphic Being. Now, Spectral brings the past alongside the present with its latest release, a compilation that offers a vibrant cross-section of the current moment in underground dance music. Despite the wide-ranging selections on Spectral 139, a throughline of classic style and infectious energy emerges from the up-and-coming and established artists alike. Rising talents such as Minimal Violence, Russell E.L. Butler, and Earth Trax x Newborn Jr. bring unique perspectives to their hardware-centric productions. Veteran producers bring their own edge as well: D'Marc Cantu blows the roof off with the outsized funk of "Regularly People," and Nigil Caenaan's "January's End," a low-key Detroit classic from the late '90s, closes Spectral 139 with a whirlwind of manic rhythms and sedate synths. Gunnar Haslam opens the tracklist with his acidic mindbender, "Versione Antica." And Ghostly regulars like Tadd Mullinix, who drops a lush JTC remix of his new X-Altera alias, and Matrixxman, who collaborates with Riccardo Limiti on the cavernous "Inferno," tie everything back to the label's roots. The double-12" compilation, as well as each individual single, features original work by Los Angeles-based artist Nina Hartmann. Her designs have appeared on releases from labels such as Ascetic House and Big Love, and the pieces for Spectral 139 continue to develop her cryptic aesthetic. The marriage of Hartmann's striking, high-contrast symbols with such bold dance music speaks to a collection that aims to stand out.

"The Room", Fenster's fourth album and their first release on Altin Village & Mine marks the beginning of a new chapter for the band. After releasing three albums, a feature length film, and touring extensively throughout Europe and North America since 2012, "The Room" serves as an entry point into their sonic evolution. The essential characteristic of the band is transformation - within and between genres, albums, and songs. Their sound is a window framing psychedelic, groovy, hypnogogic, playful pop.

Fenster is Elias Hock (Germany), Jonathan Jarzyna (Germany), Lucas Ufo (France) and JJ Weihl (USA). Their mission in creating this album was to compose and arrange every song together in a room. It is an experiment in collective creativity that pushed all of them to transcend their individuality and create something together which is greater than the sum of its parts.

The songs were tracked live in a house where the band ate, slept, and played together. Often the songs were recorded without implementing a click track. They were intent on finding and locking into a human groove—one open to imperfection—while still maintaining a tightness between them. They wanted to make the songs feel alive—as if the listener were present in the room with them in the moment of creation.

The album's title track "The Room" opens the record like a rollercoaster ride. There is a tension in the first bars that ties us to earth, a minimal riff that guides us to the first chorus where we feel we are slowly lifting into the air—and by the time we reach the second chorus it has exploded into a space far away from the planet's gravitational pull.

The band's use of juxtaposition is not just a way of channeling a vast library of musical genres and concepts, it is a means of expression. Combining tender pop melodies with kraut-beats, disco grooves and psychedelia frees the band from any one sound and creates a genre all its own.

This playfulness is especially vibrant in songs like "Rhythm A" and "HAHA lol" which deconstruct and fuse together disparate moments of explosive rock, tender harmonies, percussion made of splashing water, voices from a radio, and electric piano. Even "Feel Better", a sparkly pop ballad is cracked wide open by a long trippy interlude that appears unexpectedly within an otherwise classic structure.

The cover art, created by the band's own Lucas Ufo, invites us into a room in the shape of a human skull. If one looks "out" the window in the picture, one finds oneself looking in to an infinite portal of rooms within rooms. The record plays a lot with this idea of perception. In "HBW", the relationship between the bass and the drums creates the feeling of an infinity loop. The lyrics lend an enigmatic tint to the landscape of so called objective reality v. perceived reality: "I was a phase — you were going through — said I was the one but there is no one — there's only the sun — that gives shape to the moon"

The record starts with "The Room" and ends with "Two Doors". Maybe one door is an exit, and one leads to another room... who knows The song has something mysterious and expansive, like a digital ocean flooding the room, carrying everything away. The whole process of making a record is about capturing a moment in time. This is the record they made - in this point in time, all together, in a room. The last words of the record roll out with the waves: "What you leave behind for someone else to find — Two doors inside — neither one is right"

Tracklisting

Le Matin, always rare and uncategorised, following the reissue of his early synthwavepop tunes on « poussière d'époque » and a track on the good Lena Wilikens' Dekmantel Selectors 005 comp, this new EP on Lost Dogs Ent. let you hear some of his last works. Expect an ultra-cold-minimal-electro riddim, a less-mental-nearly-good-for-the-dancefloor tune with depitched haunted r&b vocals, an analog and bassy arpeggio ride ... On the flip side, Oh My God ! This is the peak-time-for-weirdo-nearly-techno tune, a blast, only for craziest DJs that like broken-frustrated-uncomfortable dandefloors and to finish this well balanced 5 trackers : the « are you depressed that much It's the 10th time you're listening to this OST of a dying world, this won't get any better but at least this is good music ! » tune. Le Matin is a good kept secret that prefer to take care of his kids than to travel the world of nightclubbing with drunk teens (ok that's how it is in France, that looks better in some other countries), but sometime you can hear his music on decks of some wise people and DJs like Call Super, Lena Wilikens, House of Traps, Charles Drakeford, Jon K, Bergsonist, Body Motion...

The First 12" From Brand New Verse Label Out Of Tokyo, With Leading Minimal Techno Dj & Producer Hironori Takahashi.

Tokyo's DJ and producer Hironori Takahashi has released music on many underground Techno labels such as ACONITO, INFORMA, CHRONICLE, SHAPELESS, AIMERSSE . ORG, SEMANTICA and STROBOSCOPIC ARTEFACTS. Hironori grew up in Morioka, Iwate prefecture in Japan, where he encountered Techno and House music, before moving to Tokyo to work at the legendary Disk Union record store. Hironori creates his music under the influence of his mental and physical experiences to create new experiments of sound. This limited vinyl only 12" is the first output of the brand new Verse label out of Tokyo.

Bang! Superfiction Recordings is back with label bosses Italoboyz and Blind Minded joining forces once again, + 2 sublime remixes by superhot Mexican new kid Sakro, and legendary house music French Maestro DJ W!ld.

This record, once again, offers a wide spectrum of Superfiction's music taste, encapsulating minimal house - tech sound - deep grooves, all blended in a fresh and modern way.

Vinyl only

The 3 release. 3 artists. 3 solid tracks.
Rex Hansson has made a solid original version. You clearly hear his skills as a past percussionist. The beats together with Skånska vocals, Low key Rhodes and some 303 knob twiddling make this track special and great.
Emil Nyman. This mix is something. It's tossing and turning from a metallic sound to the softest wood. From the deepest parts of the ocean we follow the pads and organ up in the sky.
The b side is dedicated Clark Eng. A minimal offbeat version with low toms and rattling high sticks, claps and snares. The track is moving like a Newcomen engine. The minor changes all the time makes it to a hypnotic minimal house track.

This summer, My Favorite Robot Records release another of their excellent and immersive full lengths, this time from German production outfit, Rework.

The trio of Daniel Varga, Michael Kuebler and Sascha Hedgehog AKA Rework, describe their musical aesthetic as "cabaret-independent-house" and combine icy minimal structures with catchy euro-girl vocals, Anglo-French funk antics and a dash of dance floor melancholy. Playhouse, Meant and Items & Things have all released their work, which includes three albums before now. This latest is another musical adventure filled with surprises.

This is an effortlessly diverse album that brings a wide range of influences to the table and ties them all together with Rework's unique sense of style and cool.

After a triplet of solo 12"s, all courtesy of label main man Rupert Marnie, Hamburg-based imprint The Press Group are set to break 2018 in with the multi-flavoured TPG004 - a versatile debut VA that offers a fine close up on the label's whole cast of operating forces with some choice contributions from TPG's core tetrad including Youthman(29), Ten Letu, DJ Dodo and Marnie himself. Mind your backs!

Shape-shifting yet coherent as a whole, this collective effort puts together a swinging confluence of sounds and aesthetics - clearly aimed at the dancefloor but equally poised for laid-back chill sessions. First release on the label to reunite the entire crew, TPG004 mashes up a wide-spanning array of grooves and tempi in exploded view, giving full vent to each artist's idiosyncratic universe whilst establishing a hyper-modern sound ID, both infectiously funky and undeniably potent.

Casting its net far and wide: from the pared-down astronautical breakbeat of Youthman's 'Aemilia' to DJ Dodo's breezy jacking jazz-footwork hybrid 'The Machine' via Rupert Marnie's lithe ganjah-smelling shuffler 'Health' and Ten Letu's muscle-flexing acid roller 'Ah, You Shot Me!', it's a feast of feelgood beats that you're invited to, neatly connecting the dots between the guys' shared love for video game soundtracks, liquid dubstep, heavy jungle breaks, minimal house and further daydreaming, hazy harmonics to drape yourself into.