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Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

Markus Fix has been one of the early companions of Deep Vibes Recordings and we're happy to see him back with this stunning 3 Track solo EP. In fact this record somehow seems to close the circle between his early playful works and today's club sound. ' Wanna Let You Go' is a beautiful warm house track with a sweet piano line. What might seem like a perfect sundowner has potential to become a secret weapon for early morning hours too. Release your mind and let the body follow! Whilst speaking of that: ' Back On Earth' will make you jack! Pure energy, compressed to a juicy baseline. No more words needed. ' Reagy Dub' makes the round up and fills in somewhere between the two others. Warm up, cool down or open airs sun splash. Check out this diverse as beautiful record! Have a great summer! Yours truly, DVR.

Back with another monster of a release, Ellum Audio bring you four heavy duty remixes of the infectious jam 'New York Is Alright' from TV Baby - a killer track with 'a throb of low-resolution low-end and caustic vocals' - in the words of label boss Maceo Plex. For the A side Blackspun deliver a sensational 'Minimal Mix' and 'Acid Dub', while over on the flip Maetrik injects plenty of groove and Idjut Boys take things into another dimension! All tracks are serious DJ weaponry, each served to dominate the dancefloor in their own way at peak time.

ELL014 comes as part of a joint release with DJ Spun's label Rong Music (USA), who will be releasing the original track plus remixes from Eric Duncan.

Blackspun is made up of Jason Drummond aka DJ Spun and Mark Bell aka Blakkat. Originally from San Francisco but currently residing in New York DJ Spun's journey and career through electronic music began at the birth of House and continues to this day. L.A's Blakkat is a vocalist, producer and first class DJ also working with the biggest names in the business and gracing the decks of the best clubs in the world. Together they make the perfect team with the results clear to see from this special release.

Flying high at the top of his game Eric Erstonel aka Maetrik (Maceo Plex) recently released his DJ Kicks album on !K7 which featured the Blackspun remix.

From their North London studio, Dan Tyler and Conrad McDonnell aka the Idjut Boys have run three record labels and produced their infectious dub-heavy disco sampling house for many more. They formed their first label, U-Star, in '94 on the back of their successful club nights of the same name.

Sister Label to Vanguard Sound Anunnaki Cartel plays host to the fourth installment of the Vanguard Sound Series featuring 4 tracks from crew members Dakini9 (Lola), Chris Mitchell, DJ. Spider, and founder Amir Alexander. During the time since Vanguard Sound Vol. 3 launched the Vanguard Sound label, the series has reached a kind of cult classic status among the most dedicated U.S. underground vinyl collectors. As more and more people discover Alexander and his Crew of ultra talented DJ/Producers, their releases on discogs disappear and then reappear for three to five times their original price. Buy on sight status is quickly being achieved by all six members of this shadowy Crew.

The four tracks contained in this release all touch base with the vibes already established by the Crew, while continuing to expand the sonic palette as well.
Amir Alexander's Cypher is classic dirty analog at it's finest. With a slightly overdriven synth baseline leading the way, followed by restless percussion. Midway through, deep and mysterious pads create a dreamy texture as a spoken word passage muses about loyalty to those you came up with.

Chris Mitchell's 213NL raises the temperature with Chris's signature "Phrenetic" drum programming under an SH101type acid baseline oscillating wildly as melodic strings soar.
DJ Spider keeps things gutter with some Vanguard/ Plan B style street knowledge in the form of New World Resistance. An industrial/ futurist tech beat frenzy full of vocals dropping science about the New Word Order's plans for global domination.
Dakini9 closes the release by taking us to the depths and beyond with her deeply emotive work in the form of Rollercoaster to Nowhere. Sci fi atmospherics weave in and out of lushly serene pads while her always deadly serious percussion marks the time effortlessly. Time travel is evoked as the dulcet tones erode all sense of the here and now. Fall into infinity! For the collector's, this one is not to be missed as it is a rare Vanguard Volume on it's sister label Anunnaki Cartel with both logos on one record. Don't sleep..

The Descent of Man EP is the third and last part of a trilogy on vinyl dedicated to Charles Darwin studies. This final chapter is focused on the darkest side of electronic music and his impact on human psychology. As Charles Darwin studied the evolution of physical and mental traits, we want to show how obscure, trembling and aggressive sounds generate an increasing sense of agitation and loss while mild and gloomy atmospheres can relieve the body and brain, achieving a peaceful state of mind.
Don't be afraid to move into a shady space. This is not the end even if it could be.

Character has many forms. Musical interests too.

Mr. Mau shows his deeper side in this very diverse EP, translated in three brilliant tracks.

Inspired by many other artists, he managed combine the hardware and software into a must have EP for people who want to experience the essence of the style of life that's called techno: a broad way of interpretation and translating feelings into music.

For this special EP, Mau invited one of the most underestimated, yet well-known and very respected artists of Portugal: michaelangelo, the man behind Labrynth Records.

What many describe as a Aphex Twin like touch to it, "Black" is a piece of patience, feelings and excitement captured in an instrumental track that is strongly recommended to be played in a laid-back modus, but also can be used as a DJ tool in darker sets.
michaelangelo takes "Black" to a whole other level. Well-known for his very atmospheric dark drones inspired techno, m surprises again with his creative approach with swirling glitches and an in your face off-beat kick. A must have in your collection!

Are you more into the minimal side of techno With a twisted side to it Than "Lion" is the track for you!
The subtile power of the TR-909 machine combined with atmospheric dark touched stabs and leads.

"Walking" is definitely one of the more deeper tracks of this album.
With it's lounge like jazzy feel to it, Mau manages to capture the beauty of electronic music that doesn't leave anyone untouched.

King Geedorah is MF Doom / repressed!

Heavy Industrial Hardcore Hitters by Dutch pride: SEI2URE!!!

On the A1 side we have: War
The track is called War and sounds exactly like that. Full on Industrial Hardcore Warfare!!

On the A2 side we have: Destroy
Again a title that says it all. Down tempo Hardcore ammunition designed to Destroy Dance floors all over this pretty globe of ours!!

On the flip of this multi collard vinyl release we have: I Am God
A more up tempo broken beat orientated Hardcore slammer making this release that little bit more divers and awesome.
If God produced tracks like these.. Here at PRSPCT HQ we would almost convert to Christianity..

Hope you guys enjoy this release as much as we do and play the fuck out of them whenever and where ever!!!

Moire Patterns sends his most essential of hellos to the world with his new release on Knuggles Recordings, featuring two delicious tracks on 12(vinyl only).
A: Warning Parrots
It's a Warning! Warning! Warning!
Moire Patterns with Nic 2Birilli welcome the summer with a Live Recorded Jam, inspired by their Mediterranean origins.
A balearic journey unto its own.
AA: Lofty Principle
Are you ready to elevate your principles Do you have the strength to carry on
Nikolaos' love of the raw & analog ways has created a piece of work with 808 garage elements that set off waves and twirl you into ecstasy.
Mixmasters will love this one.

Tigersushi surprise us and drop a new 12" from label boss, Joakim... 2 Gloriously Produced Tracks, As Usual...!
Almost 2 years have passed since Joakim released Nothing Gold. Not that he's been lazy. Those 2 years have probably been the busiest for the tall Musician/producer/DJ/label manager who produced numerous bands in his Fountain Studio in Paris (Zombie Zombie, Montevideo, Alba Lua, Acid Washed and more...). Joakim also did a few remixes (Aeroplane, Charlotte Gainsbourg, Lescop, Arsenal, Renaissance Man...) ans recorded a collaboration EP with Kindness that was the debut release on his new label Crowdspacer. Not to mention the constant touring, running Tigersushi records and a move from Paris to New York city!

Since Joakim has 4 hands, he also managed to start recording some material for a new album between 2 recording sessions and just before he had to move his studio out, he finished those 2 tracks : the slow, claustrophobic but hopeful « Heartbeats » and « Another Light » which brings that subtle typical melancholy to the clubs.

Now Joakim is setting up a mini home studio in his flat in NYC, somehow going back to his roots when he started making music at his parents house with a cheap keyboard more than 10 years ago. Usually in the music business, artists release a first single once the album is finished and start a promo campaign from there. But Joakim doesn't really understand the music business (don't tell anyone!), so he decided to release those 2 tracks without having any more finished material for his upcoming album nor an idea of what it will be like. In those times when everything is instant, he'd rather release new material leading to an album while the tracks are finished. Just like a work in progress you will witness an album taking shape before your ears.
This is a way to bypass the traditional rhythm of an album launch when everything needs to be done and ready months before the actual release, which usually results in the author being already bored and working on something else when the music comes out.

Hypnotischer Tiefgang kann auch hell und freundlich sein, wie Marcus Sur einmal mehr unter Beweis stellt. Die melodiöse Eingängigkeit seiner Produktionen schwingt irgendwo zwischen Deep House und Dub Techno, wobei er das Beste aus beiden Welten mit organischer Eleganz verwebt und mit seiner ganz eigenen Note versieht.
Da ist das stimulierende Pochen und entrückte Klingeln von The World In Small Doses. Da ist die hintergründige Dramatik und perfide Vielschichtigkeit von Masquerade. Da ist die verträumte Stimme von Ann Jasmund, die sich über den warmen Wogen eines wabernderen Klangteppichs ausbreitet. Und da ist der verspielte Basslauf von Magnetic Ribbons, dessen schwerelose Synthesizer- und Piano-Zitate Mollono.Bass zwischen die perkussiven Rhythmen seines wundersamen Frequenz-Universums entführt. Das dubbig glitzernde Original gibt es als Zugabe für die Digital-Version. Leicht verdaulich und doch sehr gehaltvoll - wie gute Musik für den Sommer sein sollte!

Repress

PRSPCT XTRM 007 by Dither will be hitting the streets soon.

2 banging tracks of XTRM-ly epic proportion by the handsome, sexy, talented Dutch producer: DITHER

On the A side we have: Digital Chemistry
Need a bomb to get the party started. This 180 BPM monster track is guaranteed to do this.
Industrial Hardcore Drum & Bass designed to put a smile on your face! J

On the flip of this release we have: Adopted The Dark
Dither really adopted the dark on this one. 175 BPM Dark and heavy Industrial Hardcore Power!!!

Hope you guys enjoy this release as much as we do and play the fuck out of it!!!!

'Believe" delivers a consummate body of work with which Nicole's considerable abilities in the studio are clear for all to hear. A wide-range of sounds that is sure to appeal to the idiosyncratic tastes of the various sub-sections of electronic music community. Furthermore, it lives up to the high-standards of previous Drumcode long-players and is an engrossing and impressive debut; and one that offers a smooth segue into the next chapter of an already exciting career.

Kicking off with the industrial techno grooves of 'Come And Lay' with the bass-heavy 'Do Your Thing' on the flipside.

with RV8, the osaka-based producer and musician AOKI takamasa continues his long-
term project that focuses on the modulation of rhythms and grooves. it began with his frst ep
‚rhythm variations' in 2009, released as part three of the unun-series. besides his collaboration
with raster-noton, he released records on several labels like commmons, progressive form
and op.disc, produced remixes for well-known musicians like ryuichi sakamoto or yoshihiro
hanno and played performances at, for example, elektra/montreal and club transmediale/
berlin, all in all making him a renowned producer in japan and beyond.
starting with a frework of bleeps and bops, already the very frst minutes of his new
record reveal aoki's preference for vibrating beats and likewise his playful approach to music,
generating a sound that is aiming at the dance foor.
like the frst ones, almost all tracks of the record are characterized by a constant modulation
of chords and lines that sometimes appears somehow hyperactive, but nevertheless results
in a natural fow that perfectly refects AOKI's laid-back attitude combined with his will to
produce danceable and funky music.
the fuent arrangement is only interrupted by the third track which forms a caesura by
being more reduced and slower. in contrast to this, the following tracks present a faster
tempo and an increased intensity; and whereas the frst tracks refect downbeat and r'n'b
infuences due to their broken beats and chunky sound, the later songs are characterized by
a more sleek and technoid style, incorporating dribbling basses, clappy sounding snares and
modulated voice snippets.
although all of the musical components are constantly broken down, modulated, and
rearranged, the overall sound of the record is dense and compact, featuring a groove made
up of numerous elements that are complexly intertwined. the eight tracks of the record ft
seamlessly together and create a composition that nearly functions like a dj set.
the album was mastered by yoshinori sunahara. needless to say that RV8 will be released
as cd and lp.
[A] a1 | rhythm variation 02 [B] a2 | rhythm variation 04 [C] a3 | rhythm variation 05 [D] b1 | rhythm variation 06 [E] b2 | rhythm variation 07

MCDE proudly presents the debut works of 22 year-old Canadian, Michael Gracioppo. Featuring a remix from Fred P (Mule / Underground Quality)..very limited edition.
The label's first 10-inch is headed by My So-Called Friends-the Montrealers deeply personal ode to an over-indulgent past lover.

The fluid drum work and violent bass line sit alongside the words of a punkesque inspired vocal sample. My So-Called Friends tells the story of a sincere and vulnerable young woman facing an inner battle between excessiveness and self-restraint. These drugs they are making me so sad I can't stop taking them.

A2 is a testament of Gracioppo's focus on maintaining a balance between songwriting and sound design.
Sailing unpredictably back and forth in tempo, A2 has been left untitled so as not to taint the piece.

Enlisted on remix duties, the always excellent Fred P flawlessly Reshapes Gracioppo's A1 into a hymn suited for the early morning comedowns.
Fred Ps vibrant pads resonate up and down in frequency and wrap the wavering vocal in warmth and comfort.

As if our recent releases hadn't already been spreading the sound of Circus Company into new and exciting places, now our very own silver-tongued enchanter JAW emerges with the first details of his own autonomous project. Somewhere in between the electronic drive of his day job in dOP and the folky, organic instrumentation of Les Fils Du Calvaire, JAW shares with us a new venture that has thrust him into the studio with Lebanese musician Kevork Keshishian. After a chance meeting on the streets of Beirut, the pair struck upon a creative buzz and so "Hazihi Laylaty" was born. Translated as "this is my night", the title references one of the most famous pieces sung by the celebrated Egyptian singer Umm Kalthoum in the early part of the twentieth century. The dusty crackles and haunting strings that begin "Hazihi Laylaty" instantly call to mind the mystery and allure of traditional Arabic music, and the track as a whole fuses this spirit with a subtle wielding of modern electronics to create a thoroughly moody piece of pop-noir. Paying full respect to the complexity and consideration of the original version, both The Sorry Entertainers and Soul Clap embark upon unusual approaches for their remixes, managing to enhance the electronic elements in the track through more prominent production without losing the core ambience of Jaw and Keshishian's creation. JAW has been quietly working on a solo project for many years whilst also engaged with the relentless demand of his life in dOP, and now finally the time has come for people to hear the first snapshot of this venture. Bringing together a vast array of people, singers and producers from all corners of music, JAW's voice provides the glue with which a brave and boundary-l

Struments Records starts 2013 launching Nuevo Dia EP, second release of the label from Barcelona. In this occasion the reference is signed by the Catalan duo Aster, which counts with high quality remixers such as Benjamin Damage and Dexter. Nuevo Dia, the homonymous topic that starts and gives name to this second reference Struments Records, backs seven minutes in which multiple and varied melodies of different natures mix up with rhythmic patterns coming from a dynamic bass and evoking feminine vocal samples. A cut treated with strong dynamism in which the allusion of movement is constant. In Placido Domingo an acid bass line goes along the minutes transforming into the main character. The theme goes on for five minutes at a slower pace responding to the classical patterns of acid-house, introducing initially percussive rhythms, followed by dynamic involving notes and ending with a fantastic melodic take-off. The remix brought by Dexter increases and decreases during seven minutes, converting the original melody into an easily adapting scale to the first hours of the night. Using vocal samples it gives a surrounding perspective and introduces a powerful bass perfectly suitable for this newer clubber version of Nuevo Dia. Benjamin Damage bends Nuevo Dia with frequencies and filters, darkening brief melodic spaces to introduce a powerful and raw drum which reveals a postindustrial background through the late hours of the night. The monotonic rhythms of this reconstruction include in itself a progression of a surrounding physical and mental dance.

Fresh from the success of the Guilty Pleasures EP by Satin Jackets & Ejeca, next up from the ever growing House of Disco Records is Finnebassen's - 'Baby' EP. Boasting make overs from Monitor 66, Ron Basejam and Debonair along with the original track itself, this is a vinyl with credentials that speak for themselves.

The EP opens with the original track 'Baby' from the Norwegian born producer Finnebassen. With previous releases titled 'Babies' 'Footsteps' and 'Bleedin out' I'm starting to wonder if there's some sort of subliminal message at work. However with the rate at which he's been outputting releases lately there are no signs that he has anything other than more music on the way. 'Baby' is not what we have become accustomed to expecting from Finnebassen, it strays away from his usual deep poignant echoing house tracks. Instead it's a rich funk filled gem of a track that he's shown he is capable of through his 'silly pilly edit' of It's gonna take a long time. With bluesy lead guitar riffs and his trademark bass line it's the perfect soundtrack for a blossoming summer season.

The first remix of the EP comes from Swedish trio Monitor 66 who produce under the ethos of creating ''music for sunsets.' The track certainly embodies that motif as gorgeous saxophone licks and chiming synths over a shifting bassline give it a deep tropical feel. Next up is the remix from James Baron, or as the anagram works and we know him as, Ron Basejam. His remix is more of a straight up boogie house track letting the echoing vocals do a lot of the work whilst being complimented by sprinkles of playful keys. The sliced vocals work a treat and he manages to maintain the tracks strong groove throughout. The final remix of the EP comes from London based artist Debonair who strips down the track into a deep atmospheric affair making it the perfect weapon of choice for an after hour set. Ominous kicks and the spades of tension and atmosphere will make sure that fists are pumping well into the early hours of the morning.

The whole EP is brimming with groove and if you find yourself missing Finnebassens deep echoing trademark sound from the original track then you can find essence of it in the remixes. This release speaks volumes for the trajectory of 'House of Disco Records' as a label that's constantly maturing and sidestepping pigeonholes.

All killer no filler on the new Legendary Sound Research release! We've got a split double A-side EP from The Saint Petersburg Disco Spin Club and head researcher of the label, The Legendary 1979 Orchestra.

SPDSC's 'Nightdriving' sounds like the soundtrack to an early 80s exploitation movie featuring crazy driving stunts! JKriv, of Deep & Disco fame, flips the track into a mid tempo piano driven stomper adding even more action to the scenes.

On the flip side, The Legendary 1979 Orchestra's 'Love Triangle Theme' is the actual soundtrack to the opening scene of the short horror film 'Matasari'. The track is moody and tensed but somehow liberating with its groovyness. Taking care of remix duties is analog veteran Ruf Dug. His take is reverby, atmospheric, sounding straight off a lost proto house tape.

Give the tracks a spin with the sun in your face or in a dark basement, you'll hear what they're meant for!

New release from the mysterious Ex-Pylon on Studio Barnhus. Shakes is a twisted, noisy 12 minute techno epic with razor sharp drums, acidic basslines and a daredevil breakdown, while Helmet comes correct with swirling pads from outer space and a deadly groove from deep within the core.
Some selected feedback:
Agoria - i looooooooooooooove helmet so much!
Catz N' Dogz - LOVE IT MORE THAN POLAND
Dave Aju - cool and trippy tracks... 'helmet' is a cosmic space jam!
Deetron - This is so so good, exactly what I needed! Lovely use of the samples in Shakes and Helmet reminds me of Co-Fusion, great EP!
Ewan Pearson - Shakes is great!
Ivan Smagghe - huge
Jacques Renault - Helmet is cool, I'm going to test it out for sure.
Jimpster - Another slice of gorgeous deepness! Both tracks are double heavy and going to be getting plenty plays. Nicely done!
John Talabot - loving shakes!!! SB love
Josh Wink - out there release. fresh and i like.
Robag Wruhme - Download for Robag /Robag's mom
Sandrien - Shakes is a cool trip!
Superpitcher - super!!
Tim Sweeney - Yes to techno!

Belgium, not the first place you'd think of when it comes to Latin or Afro funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

Ritual was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

Kartel is delighted to announce the 18th March release on Soundway Records of Magical Thinking by Antibalas multi-instrumentalist, Chico Mann. Tipping a genre-bending wink at 80's funk, boogie and electro stylings, with just a hint of Afrobeat spicing the mix, Chico effortlessly merges a downtempo groove with timeless pop sensibility to create a contemporary dancefloor classic. UK/European dates for March/April will be announced shortly.

The bomb that should have dropped way back when. After a career spanning almost two decades DJ Overdose debuts on Creme with his first full length album, upon which we remark with carefully considered understatement: 'A veritable tour de resistance in film noir electronics, Bizarro World is a dank and dark alley made flesh. Overdose's heavy soulful beats and soundscapes snatch your dreams right from under you like a shadowy kleptomaniac, masterfully pairing melancholy and ennui with fear and voyeuristic tiger-lurking-in-the-bushes paranoia. So lock up your future plans or you might very well find yourself without any'. For those who don't know, DJ Overdose is one of the OG's of the La Haya underground, one half of Novamen and the other half of The Hasbeens with classic and sought after releases on Bunker, Viewlexx, Murder Capital, Clone and Strange Life to name a few. In his spare time he doubles as a hand model for Bruce Willis.

Six years have passed since the last album by Andi Otto alias Springintgut, ("Park and Ride", City Centre Offices, 2007). In this period, Otto has done nothing less than inventing a new instru- ment: His "Fello" is a cello with movement sensors attached to the bow and a corresponding software. The development has been kicked off at STEIM in Amsterdam already in 2007. Since then, Otto has achieved vital refinements of the system, cooperated with artists of various fields as diverse as choreographers in Macedonia, theatre in Nigeria and Techno DJs in the Berghain Kantine in Berlin or the Fusion Festival. He even played solo with his instrument on different continents. For this third album, "Where We Need No Map" Otto takes the "Fello" to his studio in Hamburg for the first time. He records his instrument which has until today only been presented live on stage. In these Fello Sessions, the bow gestures immediate- ly modulate and process the amplified cello sound. In the subsequent editings he selects and cuts these sessions and merges them with other styles, such as Skweee, House and Jazz. Springintgut's trademark sound, this unique playfulness, is pre- sent throughout, while the live-processed cello adds an unrivaled deepness. The artist's expeditions even add more colour. Two tracks have been recorded in India. The lead voi- ce in "Bangalore Kids" is a field recording of a schoolboy in Cubbon Park, Bangalore. Andi Otto spends three months in Japan as artist- in-residence in the Villa Kamogawa in Kyoto. Du- ring this concentrated period he produces the more contemplative tracks of the album, like "Ka- mogawa Cycling" and "Western Kyoto". In Sri Lan- ka, finally, he meets Sasha Perera, the voice of Berlin's Dub Techno band Jahcoozi. They record two songs together. Especially in "Bullet" one can sense the lazy, muggy, peaceful heat of the after- noons in which this beautiful track has been com- posed. These stories may help to locate the music's orig- ins but still the sound of "Where We Need No Map" points us to unknown territories. The journey itself is the reward, let's listen!

Sechs Jahre sind seit dem letzten Album "Park and Ride" (City Centre Offices, 2007) von Andi Otto alias Springintgut bereits vergangen. Diese Zeit hat der Pingipung-Mitinhaber genutzt, nicht weni- ger als ein eigenes Instrument zu erfinden: das "Fello", ein Cello mit Bewegungssensoren auf dem Bogen und einer dazu gehörigen Soft- ware. Die Grundlagen dafür entstehen bereits 2007 am STEIM in Amsterdam. In der Folgezeit gelingt es Otto, das Instrument immer weiter zu verfeinern, mit unterschiedlichen Künstlern zu kooperieren und international aufzutreten. Für "Where We Need No Map" trägt Otto das Fello erstmals ins Hamburger Studio und nimmt unzählige Sessions auf, in denen die Gesten des Bogens direkt den verstärkten Sound des Cellos verändern und neu formen. Diese Fello-Sitzungen werden anschließend editiert und mit anderen Ein- flüssen vermengt, die von Skweee über House bis hin zum Jazz reichen. Der Markenzeichen-Sound von Springintgut, diese ureigene Verspieltheit, ist weiterhin vorhanden, gewinnt durch das live-pro- zessierte Cello aber eine bisher unerreichte Tiefe. Weitere Farbe erhält das Album durch Ottos zahl- reiche Tourneen in ferne Länder. Zwei Stücke ent- stehen in Indien. Die Stimme von "Bangalore Kids" ist eine Feldaufnahme eines Schuljungen im Cubbon Park in Bangalore. In Japan verbringt Andi Otto drei Monate als "Artist in Residence" in der Villa Kamogawa in Kyoto. Während dieser kon- zentrierten Zeit entstehen die ruhigeren Tracks des Albums wie "Kamogawa Cycling" und "Western Kyoto". In Sri Lanka lernt er dann Sasha Perera kennen, die Stimme von Jahcoozi. Sie nehmen zwei Songs zusammen auf. Vor allem in "Bullet" kann man der faulen Nachmittagshitze nachspü- ren, in der die Stücke entstanden sind. So lassen sich die vielfältigen Entstehungspunk- te von "Where We Need No Map" zwar karto- graphieren, aber der Sound des Albums schickt einen trotzdem in unbekanntes Terrain. "Der Weg ist das Ziel, frag nicht viel, hör mal..."

The story of Bonobo is one that's become uncommon in contemporary music. There was no sudden, viral internet sensation, no one-off big hit, no abrupt, accidental alignment with the zeitgeist. Instead, over the course of four albums, myriad tours, singles, remixes and production work for other artists, he quietly but very definitely became one of the most important artists in electronic music. The hard work paid off, and culminated in 2010's 'Black Sands,' a masterful album that married Green's inimitable melodic genius and musicianship to bleeding edge electronics, bass and infectious drums.

After a year plus of touring the hypnotic, extended live versions of Black Sands, he finally found time last year to embed himself in his New York studio and write his fifth studio album. Now, in 2013, he stands ready to take things up yet another notch. 'The North Borders' is a long stride forward - both a natural evolution and a continuation of the electronic palette of Black Sands. Thematic, resonant, addictive and perfectly formed, it's a thrillingly coherent statement piece.

It's also an album that shows just how far electronic music has come. Its richness of texture, emotive force and all round depth are facets found more often within, dare we say it, classical music. If there's a renaissance taking place within this scene, Simon Green could make a strong claim to being one of its key driving forces.

As with previous albums, The North Borders features a careful balance between vocal tracks and instrumentals, ensuring that the productions themselves get room to breathe and shine. When Green discovered that he and Erykah Badu shared a mutual appreciation for each other's work, he leapt at the chance to collaborate. The resultant 'Heaven for the Sinner' is one of the album's triumphs, a transcendental, incanted vocal masterclass married to a brilliant two-step glitch and a yearning melody.

NYC folk underdog Grey Reverend appears on album opener 'First Fires,' providing a raw, emotion-laid-bare growl that sets the tone for an album that's joyously unselfconscious. Bonobo has a long history of unearthing new talent, Black Sands having launched the solo career of guest vocalist Andreya Triana. The North Borders sees him do so once again. The startling, ethereal vocals of new collaborator Szjerdene are sprinkled across the album, and Green has yet again found the perfect voice to express where he's at. 'Transits' sees her vocal weave around a garage beat that's somehow fragile and purposeful all at once, a gradually emerging hook rising from the depths of the song.

'Emkay' is a stunning example of the album's marriage of addictive, urban-inflected drums to rise-and-swell melody that never fails to move the listener. Opening single 'Cirrus' sees a clockwork-precise rhythm drive a chiming, insistent melody that builds to one of the record's great emotional climaxes. This is where Green excels, he knows how to invest electronic music with immense feeling.

The North Borders - like all great records - is an album that demands to be listened to as such, a body of work with its own internal logic, themes and narrative arc. Bonobo's abilities are at an all time high, and The North Borders everything his growing army of fans will have hoped for - a sheer delight.

Leo Anibaldi's label !
This new Italian artist (already released on Nacthstrom Schallplatten, Drehmoment, etc.) shows two interesting tracks with a modern concept of techno.
The first track is a sort of hypnotic techno with a lot of groove inside, never boring.
The second track is a beautiful trip with experimental and industrial sounds, he doesn't want forget his roots.

SCR DARK SERIES is the new label of SCR that's concentrating on dark techno. Number 001 comes from no less than long time techno hero ALEXANDER KOWALSKI who delivered an amazing detroit techno floor burner driven by deep chords and subtle melodies. Alltime primetime favourite alert!
For their remix CASSEGRAIN dubbed the track out and transformed it into a pulsating, reverberating dub techno piece that's slowly morphing into more and more deepness.
D_FUNC stripped down the original and gave it a bit more of a push with a heavy bassline and a strong string melody, Old school basement techno style!

In the great tradition of Count Ossie, four new grounation furies — hypnotic, thunderous, urgent, mystical — with dubwise repeta, funde and bass drums embedding the Light Of Saba veteran's gorgeous trombone classicism.
The opener is a rocking kumina rhythm, with ring-the-alarm metal percussion and exhortatory brass; Free The People swirls some apocalyptic reasoning into the foggy, thumping mix. Universe In Crisis is another emergency call, chuffing headlong down the grooves... before the beautiful, anthemic Chant takes a step back from the fire, closing with a sense of thankful, spiritual reconciliation, the expert drumming and lyrical bone-work in full effect.

New Artist on Fachwerk Records with some deep advanced techno cuts. Limited to 300 copies! Comes including a solid Mike Dehnert Remix who takes a more dubby Berlin techno approach in a way only he can do! Dont sleep.

The EP starts with Mikael Jonasson's, 'Benefit of the Doubt' which uses dark, melodic bleeps to create tension before the epic chord stabs kick in that resonate over the throbbing bass line. Adam Beyer steps up with the second track 'Never Really Left Home' that uses a rhythmic synth-line to create a dark and moody piece of music. Ida Engberg then delivers her unique style of techno using old rave sounds and a huge hoover style synth to create a driving techno track that will keep any dancefloor moving. The Manic Brother's supply another big track named 'Different Directions' using reverberated stabs to create an atmospheric, but still functional track with lots of rhythmic percussion thrown in. Patrick Siech then steps up with the next track, 'Kill Room' that also uses atmospheric percussion and stabs to build into a funky drum groove. Joel Mull presents the sixth track on the compilation; 'Rimson' that uses hypnotic drums to captures the listener's attention to lead into a floaty synth and vocal line before the track introduces a pulsating bass line. 'Second Coming' is the next offering with Petter B using recurrent percussion to full effect to create a purposeful, heavy hitting techno track. The final track by Cari Lekebusch called 'Xylopeggiator', conveys a dark, pounding 5 AM rhythm that uses vocal samples and a melodic synth to create a hypnotic drum pattern.

Alex Font is a serious guy who knows that now is his time. A multi-instrumentalist, as well as a producer and DJ, he can sometimes be seen on stage in trademark shirt and bow tie. He declares himself a lover of vinyl and, above all, what he calls real house. I think that says it all.

'NOW IS MY TIME' is the fifth release on the Oblack label and is available in black vinyl and digital. It is undeniable proof that Alex Font has arrived and is now a permanent force on the House scene, mainly in soul and dance, but who also knows how to reinvent his sound using new tech. Always with an eye on the future of sound innovation, he still manages to keep hold of his roots and respect his great influences. Well, nothing less would do. On this EP you can tell that Alex Font (remember, this is one serious guy) knows what he has in his hands and spinning on his turntable. His knowledge of musical composition, harmony and engineering skills jump out at you as soon as the first beat of 'Now is my time' hits the speakers: darkness, sophistication, soul and groove. There's a perfect command of tempo, of where, when and how. You pick up on the instrumental skills which allow him to do what he wants, when he wants. That's what's so great about this: you're struck by the ease of how such perfect technique and astoundingly good taste come together. Digitally analogical (or is it the other way round), this is the deeply profound vs. the dancefloor. It fascinates and liberates, carrying you off through different dimensions before breaking out of itself, with no need for artificial fanfares as it's so perfectly defined by Chicagoan pianos, hi-hats, funkoid vocals, etc. He's simply extraordinary: Alex Font signed by Oblack 005.

The remix by Martinez gives this track a technical edge and club splendor. Leaving out the more classic elements of house that are present in the original, the Swedish producer slows things down so that it doesn't lose any of its elegance, but at the same time the track gains punch on the dancefloor, and there's no doubt that it works. As cool as it is effective at inciting dance and everything else that comes with gyrating your pelvis in the early hours of the morning.

Finally, the Argentinian Shall Ocin plays the scoundrel here by adding diverse electronic elements that take the track into a new dimension. By giving the vocal more prominence, here it takes centre stage, and over a well-layered tech-house base, it makes the tremendous savoir faire of the original literally surf, while at the same time respecting and completing it.

In the end, it's great that you know that this is your time and that you want to share it, through Oblack and on vinyl, with all of us. Thanks comrade.

The unifying atmosphere of the latest PRRUK 12'' by Andreas Florin is a hazardous one. With sublime high pitched tones and soaring sidechained beats, this is a top notch dancefloor record with elevating elements which gradually blend into a perfect package. With the dominant sound being reminiscent and yet thumping this is an all round venture into techno music. Something for the collection as the sophomore package that's coming up is just as exciting as the first one.

*Winston Wright is another unsung hero from the Jamaican musical
cannon. Although many might not know his name, you will have
heard him on many records in your collections. When we say that
it was he who played that classic Hammond organ riff on the
1969 'Liquidator' classic, as part of the Harry J Allstars, we might
begin to appreciate his talents that bit more. But not only this, many
1970's classics carry his organ, piano and arranging skills and
even before that time, many tunes cut in the 1960's,as part of Duke
Reid's house band Tommy McCook's Supersonics, carried the

Winston Wright signature sound.

Winston Wright (b 1944 , Jamaica) began his musical career in
the 1960's as a session player and soon became an integral part
of the Treasure Isle Studio house band, that became known as
Tommy McCook's Supersonics . He played on many of the
Rocksteady era hits that Duke Reid ruled the island with between
1966-1968.His mastery of the Hammond organ made him an in
demand session player. One such was Harry J studio's that had a
massive hit in the UK in 1969 with 'Liquidator' as the Harry J
Allstars of which Winston was a member. The same year saw him
cut some great tunes as part of Clancy Eccles' Dynamites.
The 1970's saw Winston Wright working closely with Dynamic
Sounds Studios' nucleus of musicians Cutting material for all the top
producers of the time including numerous sides for Bunny 'Striker'
Lee, which we have focused on for this set of tunes. From 1975
onwards Winston Wright was a member of Toots and the Maytals'
touring band, but we celebrate here his mighty fine studio work.
Adding his touches to many a fine rhythm as only Winston could
we hope you enjoy the set.

We know what you're thinking and you're probably wrong." tBd 2013 Being from and working in Sheffield you quickly learn not to worry what anyone else is thinking or doing and just get on with what you want to do, it's what artist's should do. That's not to say there isn't a community here, there is but it all works at a comfortable distance from each other, small pockets of talent all across the city, tiny satellites sending out their signal. It's always been about the bass! Starting the Electronic Supper Club with friends came out of nothing more than a vibe for the City, to create a canvas for us all to paint on in equal measure, it's from this work that this EP was born, it really connected us back into the City. It was and is our way to connect to past/present/future, while others may be dreaming of time travel and jet packs we accept that the future is much darker and more brutal. Welcome To SoYo

If the "Parquet" album saw them delivering a unified vision of dancefloor purity to massive acclaim, "Cashmere" now takes ELEKTRO GUZZI's signature man-machine sound up a notch. It is moving their rock-solid base towards ecstatic moments of techno bliss. In the title track layers of circling angular chords cause goose bumps, while a warmly pulsating foundation of bass and drums locks in
the groove. The "Reverse Mix" does exactly what it says: reversing the arrangement and re-building the track back to front. In "Crack Fox" it is then the interaction of shifted bass line and countering melodic scraps that pushes the whole thing forward. All set off against ultra-steady drumworks, only swelling in lengthy waves towards eerie peaks, the result is sheer madness. Essential material from
the band that reinvented "live techno."

BRK first vinyl !!!!! With a full printed sleeve and all the stuff to make it a superb unique item. Between downtempo breakcore and dancefloor hard techno, Speedcore and Techno core, Tribe Breakcore... Unlimited Crazyness, ritch of its own weirdness..And.. the return o

Vae Victis can't hide their love and passion for raw house and techno. On this 5th release there is another fine selection of hybrids between styles perfectly expressing their love for genre bending music. Durant exsists out of a small collective of producers with main roles for Steve Murphy, Die Roh and Lucretio, alongside Blawan. "The Dove Ultimatum", a 4 tracks ep of punchy analogue electronic music! On the a-side lay General Motors and At Ten, 2 broken beat electro techno tracks a la Drexciya showing the hardest and most experimental side of the project. While on the flip the trio bring things on a housier field, though staying loyal to the a-side vibe by delivering 2 dark and obsessive raw house tracks.
Support:
Ben UFO, Analogue Cops, Truss a.k.a. MPIA3, Tessela, Happa, Herva...

Debut longplay release from heralded Irish producer Mano Le Tough
who is one of this year's international DJ shooting stars according
to Resident Advisor's top 100 list.

Olmec Save Us is the new single by R&B powerhouse Donnie. Donnie's powerful words will take you on a journey that spans from the origins of mankind to modern times. Olmec Save Us was featured on Defected Presents Osunlade In the House in 2012. Now released as a single on vinyl- with mixes from Kai Alce, Osunlade and instrumentals of both versions!

Repress!

FORMAT: DOUBLE 180 GRAM HEAVY WEIGHT VIRGIN VINYL PRESSINGS INCLUDES MIX CD AND HIGH QUALITY COVER ART PRINT
LIMITED EDITION 1000 COPIES WORLDWIDE

This classic late night tales release is now finally available on heavy weight double vinyl, released back in 2010 this edition has gone on to become one of the most successful albums in the series 12 year history, cut using the unique 'half speed' mastering technique's and pressed on virgin 180 gram vinyl this is the ultimate audiophile format, each beautifully pressed disc is housed in a special anti static inner sleeve and comes with a special 30cm cover art print and the package also includes the original CD mixed disc and 12 page booklet.
CD UNMIXED TRACKS (FULL REMASTERED VERSIONS)

If geography has an impact on music, then Vienna has coloured Tosca's music at every turn. Over the course of a career spanning two decades, the Austrian capital has inspired Richard Dorfmeister (of Kruder & Dorfmeister fame) and Rupert Huber to make electronic mood pieces coloured with Mitteleuropean melancholy.It's a bittersweet juxtaposition that is much in evidence on the pair's new album, 'Odeon'. It opens with the hazy strings of 'Zur Guten', which ebbs into the oozing keys and pizzicato steel string guitars of 'What If', which features a smokey vocal from Sarah Carlier. Lead single 'Jayjay' is a haunted combination of sombre piano chords, rolling drums and weird, otherworldly vocals from JJ Jones. It's the pivotal track on a record that sees Tosca tapping into gothic atmospheres. It's darker than their previous five albums, more downbeat, at times ambient. It's unlike anything else out there at the moment.Is there a reason for this sombre tone Nothing specific. "Obviously our music is influenced by our experiences of life - it couldn't be any other way - so in some senses it's a kind of diary, but there weren't any single incidents that caused the record to be that little bit darker," says Dorfmeister. If anything, the exact opposite is true: life has been good. "Over the last year I think we've both learnt to be more generous and to understand our own limitations and other people's" says Huber. A case of musical yin and personal yang, then.The album's name, meanwhile, comes from the venue in Vienna where Tosca debuted the new material in October. The performance went so well they decided it would make a fortuitous name - the music/place interface in action once again. The performance features as a bonus disc on the deluxe version of the album, which will be available exclusively via !K7's webstore. More than anything, 'Odeon' is the sound of a band at the top of their game. A good time for them to release a career retrospective then. Dorfmeister reflects on the band's history. "It sounds like a cliche, but we've never really thought about other people's music when we're writing our own," he says. "We try and create our own sound. We really have always been like that. And I think we've developed a trademark sound because of that." They certainly have. It's been called the "Vienna sound". And, in updated form, it still sounds like nothing else.
Double Gatefold LP with bonus CD of the entire album

the second part of the in-demand " Cero" by Galarude ( DJ Kent and homies from Sly Moongose and Tokyo No. 1 Soulset ) that had been a secret weapon of a selected few DJ glitterati since it's original Japan-only release in 2004 delievers another set of knockout mixes: Prins Thomas flatens the originals tribal elements with hard whiping beats and a forceful steamroller of a bassline yet keeps the headmessing ingredients intact with all those swirling, spinning soundparts that one can also enjoy in higher dosage with the "ambient miks" for daytripping on your homecouch. Tuff City Kids aka Lauer and Gerd Janson corrborate how they persistently tweaked themselves to the a-list of remixing teams with two expertly constructed, infectiously swinging house mixes that keep the acid purity level high and carry the promise of a neverending summer of love.

REPRESSED !!
Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic Circle 1. A full round kick and jack style upbeats are all that's necessary to support the deep, modulated synth lines that travel through lush plates of reverb. Alberto Pascual hits a homerun with his remix that will move any club, festival, or warehouse party. Project 313's remix supplies moving synth lines are stripped down and replaced with driving rhythms and pulsating bass making this a superb techno offering. The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms complimented by science- fictionesque stabs and pounding bass.

The 'Circle 2' EP is an essential piece of Detroit minimalism. Detroit veteran Len Bartush (Mutate) returns to advance the series that began with the now classic 'Circle 1'.

The EP starts off with Mutate's 'Circle 2' (Machined) original. A full round kick and jack style upbeats are all that are necessary to support the deep, modulated synth lines
that travel through lush plates of reverb, creating an atmosphere perfect for any techno desire from dance floor, to living room, to headphones.

Alberto Pascual hits a homerun with a remix that will move any club, festival, or warehouse party. Big room percussion, moving sub bass, and funky rim shots compliment the dark synths from the original.

Project 313's remix delivers with an interpretation that celebrates the true spirit of the original. Moving synth lines are stripped down and replaced with driving rhythms and pulsating bass, making this a superb techno offering.

The Plankton remix turns up the tension with warehouse style percussion and intertwining rhythms, complimented by science-fictionesque stabs and pounding bass.



DJ's Supporting release:


A.Trebor, Alberto Pascual, Altstadt Echo, Angel Alanis, Anthony Jimenez, Audio Injection , Brendon Moeller, Bruno Ledesma, Chris Liebing, Claude Young, Dadub, Daegon, DCibel, Developer, Drumcell, DVS1, Erphun, Exium - Hector, Exium - Valentin, Felix Lorusso, Hyperactive, Jeff Derringer, Joachim Spieth, Joel Morgan, Justin James, MADA Cedric, Mas Teeveh, Material Object, Measure Divide, Memnok , Monocraft, Morgan Thomas, Octave, Onoffon, Project 313, Rene Walther, Ricardo Garduno, Sigha, Sone, Submerge, Tommy Four Seven, Tony Kasper

Double album set featuring instrumentals of 14 of the ROOTS' classics. Hard to find mixes all collected together here. Includes "DISORTION TO STATIC", "ADRENALINE", "CLONES", and many more. Pressed from the original master tapes, perfect sound quality. Printed labels, plain sleeves

Alex Niggemann's 2012-defining long player 'Paranoid Funk' dropped in June to a rapturous response from DJs, dancers and home listeners alike. Here, Poker Flat Recordings revisits some of the exceptional highlights of that record, and deliver a remix package sure to be as equally sought-after by those in the know. 'Paranoid Funk' saw the Berlin resident explore a variety of grooves and textures, an experiment that won him many new admirers and a great deal of critical acclaim. Here, some of the hottest remix talent in the scene get their hands on the originals and twist them into new shapes. Following on from releases on Cocoon, Kling Klong, Circle and two strong EPs on Poker Flat ("Dinosaurs' and 'This") renowned producers Alex Flatner and LOPAZZ take on 'Don't Wait' and drop a growling, main room monster that will standout in any set. Francys, the young Italian making quiet a name for himself on the underground house and techno circuit, lends his skills to 'Back 2 Basics feat. Benji' - channeling the spirit of the early 90s into seven ecstatic minutes. Next up is Salvatore Freda - the highly respected Swiss DJ and producer who injects Niggemann's 'I Don't Care' with a narcotic groove that sits somewhere between Detroit and Berlin - the dubbed out vocals adding an element of otherworldliness that work in perfect compliment to the track's twisted (paranoid) funk. Berlin's own Andre Lodemann picks out 'Lovers' for his excursion, a deep bomb that grows and grows around an exceptional vocal from John Rydell - this is one for the very late nights or early mornings. What is clear from this release is that Alex Niggemann's star continues to rise - the classical pianist turned producer and DJ extraordinaire is moving on to the next phase of his career - and with the slew of outstanding releases to his name already, who is to say where that could lead. Tracklist:

It's been a terrific year for KOMPAKT boss MICHAEL MAYER, who released his sophomore album 'MANTASY' (KOMCD100/KOM250) - the eagerly awaited follow-up to his seminal album debut 'TOUCH' (KOMCD36/KOM107). 2013 is shaping up to be equally busy, with an ongoing worldwide DJ tour, the label's 20th birthday and now the first EP of 'MANTASY' remixes. 'MANTASY REMIXE 1' is the first entry in a series of three, featuring a stellar cast sure to push any dance floor over the edge.


Up and coming producer and core family member of the Cómeme family - PHILIPP GORBACHEV is no stranger to Kompakt, and he delivers a slashing rework of adrenaline-fuelled synth fest 'VOIGT KAMPFF TEST'. This Berlin based Russian has had a tremendous career launch thanks to his excellent solo debut 'IN THE DELTA' (CÓMEME 012) and as a partner in crime releasing singles as a member of ISAAC JOHAN and THE DISTRICT UNION. Pulling out all the stops for this remix, 2013 promises to push him as a major club force to be reckoned with.

Another star in the making, Cologne's BARNT had an equally strong run in the last months with in-demand releases on Magazine, Cómeme and Mule Musiq: his track GEFFEN (from - The Power Of Now', CÓMEME 013) is easily one of the most recognized club singles of this year. He also tackles 'VOIGT KAMPFF TEST', dialing things back a bit, but only to reinforce the air of sheer magnitude that oozes from every single note. Delving deeper into his trademark Kraut Techno approach, Barnt replaces the original's thrills with creeping tension and reaches a new understanding of what the prime time should sound like.

THE MOLE is well-known for his heavily sampled, organic loopiness having a special place reserved in nearly every DJ's record crate, but this beat-driven. remix of Mayer's beatless masterpiece 'BAUMHAUS' sees the producer refining his approach, as he takes the original's evocative expertise to new heights of grooviness. It's not just a case of 'let's put a beat in there and we're done', but a fundamental rework eliciting hidden properties and finding a new perspective on an already perfect slice of music. A personal favorite of many Kompakt aficionados, 'Baumhaus' finally gets the club treatment it so clearly deserves.

After last years Hyperdub debut with the popular 'Set The Tone' EP, Ossie's been busy building a name for himself, as a DJ and a producer with both Ossie and Black Orange Juice releases. He comes back to Hyperdub here with the 'Ignore EP', sporting two catchy, housey, broken beat bombs. 'Ignore' features the vocals of Tilz, singing about the game of winding up the opposite sex, over bouncy, broken drums, neat stabs, and a bendy acidic bassline, with wave-like chords building up and down as if in reflection of the cat and mouse antics of the lyrics. 'Find It' on the B-side makes good with layering some roughly cut up female vocal samples, Todd Edwards-style, but twisted and dubbed into strange shapes, incorporating sloppy, dusty drums and a bassline that sounds like Wiley's early eski beat melodies, keeping the track rolling along and sounding mischievous and chunky. This release continues Ossie's building reputation as a house producer with a very British sound.

Diva is a project which explores the outer regions of techno's psyche - combining the trippy sensuality of Chris & Cosey with the brutalist analogue aesthetic of the likes of Robert Hood or Liasons Dangereuses.


Inspired by the vocal histrionics of strobe lit sirens such as Loleatta Holloway and Jocelyn Brown, Diva calls on the protean roots of basement club music. Lead track 'Paris Stabbing' is a stunning excursion into motor city madness, abstracted disco vocals clash with a broken digi-arpeggio and hooverish bass break down, whilst the flip side 'But I've Never' imposes a detuned synth siren over an industrial bass sequence and sp1200 piano stabs to eerie effect. Also included is the 'Paris Stabbing (Beats)' which pares down the original, adding detuned melodic percussion into a minimalist after hours tool.

Mario & Vidis, the top Lithuanian House duo, is back with a real treat. A solid remix package to follow up the original release of their perfect-set-closing track of summer 2012. Even though all ticking at the same tempo four different remixes and remixers on the plate represent a wide spectrum of moods and styles. From Garage and Bass infected sounds of up and coming Lithuanian producer Darius Vaikas, via Miami Bass rooted Dub version of steady groovin' American Danny Daze, to golden French Touch era reminiscent slick grooves of German combo Trickski, and summery New Disco vibes of two Lithuanian comrades from Downtown Party Network.

Newly established music connection House is OK from Frankfurt and Zagreb is raising the roof with the upcoming We Make Music Vol. 1 release. Get into the party mode with Janis, Oliver Achatz, Homeboy and The Citizen's Band this December. We Make Music opens with JANIS 'Mind Made Up'; a reminder of the early Frankfurt House sound with a scent of the Soylent Green Remixes from the late 90ties. A distorted Techno siren that evolves over a tough and jacking 909 groove and finally leads into blissful deepness. Homeboy, who got some attention with his playful Hypercolour release, brings out the edgier and deeper sound in 'Sedam'; a track based on the elements of classic House, whilst breaking the borders through its arrangement and musical form. The jazzy synth riff that locks to a hypnotic 7/4 groove is what makes this track a quality gem. Previous support on Jimpsters Freerange podcast shall suffice as evidence. The flip-side starts with Oliver Achatz' track: 'It Won't Last'. Oli, being the sentimental one in this joint, proves that House music can work with a very sensual touch. The smooth and warm use of analogue synth lines combined with suggestive vocal samples, are played over a steadily drifting rhythm. This compound, of an almost meditative nature, will provide the perfect atmosphere for early morning club hours. The Citizen's Band, one half of Arto Mwambe, closes the compilation with a remix of Janis' 'Mind Made Up". TCB shows that a track doesn't need much to get the crowd jumping and the party working, by returning the tune to its basic elements and making it a club banger for the 'heads". We Make Music Vol. 1 is only the first out of the three upcoming releases set to shake your solid house ground.

DVA started off Hyperdub's barrage of albums in 2012 with his brilliant 'Pretty Ugly', and now closes the the year with the 'Fly Juice' EP's bumper selection of machine tooled tracks, each created for optimum dancefloor damage and road tested by DVA, Kode9 and a select bunch of DJs. These four tracks are a brilliant example of what he's been describing as 'power house' for a while, a colourful chunky techno sound that switches up every 8 bars like grime and has plenty of shuffle and offbeat swing as a counterpoint to the 4/4 drums. 'Fly Juice' opens with sweet jazz funk Rhodes before dropping into weightless bouncey chopped vocals and stuttering drums building through 8 bar patterns - with the Rhodes as a sweetner, it's bliss! 'Do It' runs a stuttering voice, a huge deep bassline and relentless building stabs against shuffling drums. On 'Walk it Out', the repetition of the title over a pummelling two note melody is positively dumb, but pitched against swirling effects and whooshing chords the effect is epic. 'Long Street' features a collaboration with South African producer Big Space, and echoes the sound of early UK bleep and bass with a stern melody, breaking down into swirling Detroit-like chords, while shuffling along on a crisp, scissoring rhythm. After the sweet and sour songfulness of his album 'Pretty Ugly', the 'Fly Juice' EP shows DVA returning to his dancefloor roots. As an amazing DJ/producer, you can expect more of this in 2013.

Hello listeners, blunt heads, fly ladies and prisoners..... This is the future of the music industry. Not the music, just the idea of the artists writing their own PR faffle. Next year I'll probably have to carry my own bags on tour too.......tragic. I have had a few years of working on other projects and shuffling about in loose trousers, but now I feel the time has come to release some more music for feet and floors. What I should say is that every time I tried to write techno/house/moonbeat in the last couple of years, everything came out as shitty tech-house.....The brain was just in an alternate mode, a mode for classical music and melody, but now it seems to have come back to techno so I here present some of its recent outpourings. It belched out Polka the first night I got back to Scotland, having left London. BabaYaga is named after a sinister-as-hell witch from a Russian story book we had as kids (check http://en.wikipedia.org/wiki/Baba_Yaga) clearly designed to traumatise young minds. My traumatised mind made this tune, so it has come full circle. Mu is slower, for lazy, emotional dancers. I hope you will enjoy them and the excellent Sons of Tiki mix of Polka that accompanies them..... Send all hate mail to Vakant, I don't read it. Alex

Away from the hypnotic mayhem of the floating roofscapes, we see fractured images cycling faster.
Just as clouds follow the wind, airy soundscapes track the low-end groundwork with grainy artifacts bursting in amongst the thick.
Lost in this surrounding ambience, the B side carves its way with a resonant materiality where shattering hi-hats pull you out of a hypnotic semi-dormant state.
(B2) enters a sound voyage, an intimate balance between gloomy atmospheres, dark sirens and repeated upcoming unidentified melodies, that play against the ceaseless motion of the hi-hat motive.

Tablon is a new France based independent record label. Supporting artists with a characteristic style, tablon releases music by passion, developing its own vision of today's and tomorrow's dance music.
After a first EP by Arnaud linked in a certain way to Greece, tablon 002 will come from Istanbul. Far from us the idea to make a worldwide music label or refer to any old war between two countries. It just happened like that. Sarp makes amazing music and we are proud to present his new EP. It is called "I care because you don't", the artwork is made by Nefelie and the mastering by Mathieu Berthet in Paris. As we care a lot about the vinyl thing, our releases appear first on 12" and then in digital.
"Hi, I am Sarp Yilmaz. No, not your household name, not the next megaDj, not the chart topper, just a guy with some machines and a passion in his heart, who is supported by some other guy who runs this young, fresh label, who is mad enough to release music that is not bassline obsessed, not fitting any of the genre slots of your favorite online store, that is as much hip hop and jazz as it's house. No, this will not destroy your dancefloor, nor will it make you dance like there's tomorrow, it's moody, sometimes even depressive, but I made it with a smile on my face. It's trippy, it's glitchy and it's slow. Music, I make to cure the sicknesses of my heart. Hope it puts a smile on your face too. I care because you don't".
Sarp Yilmaz - I care because you don't EP

Fokuz Recordings is proud to present Flowrian's debut album 'Cinnamon Garden' on 2x12'' and CD format. This Vienna based DJ/Producer is making waves fast in the international d&b scene with his beautifully crafted jazz infected drum 'n bass grooves.

The CD album features 15 tracks ranging from lounge, future jazz to drum 'n bass. Because of the musical compositions Cinnamon Garden is an excellent chill-out album for your home environment.

DJ's shouldn't worry, with tracks like 'The Happy Ending', 'Mark Foam' and 'River Train' you can still bang out while at the club, laying down some serious amen pressure.

Terror Danjah's second Hyperdub album is 'The Dark Crawler', a well-paced and much more upfront and energetic journey through his musical world than his debut 'Undeniable'. The album revolves around the 'Dark Crawler' theme, a blistering grime track that pops up several times, vocaled by MC's Riko Dan, Mayhem, Deadly and Saf One, and then lastly Trim and Kossie. That's not to say the album is one dimensional or relentless. It's subtley balanced with the 'Dark Crawler' thread of tracks allowing the album to spin off in a web of directions without losing any focus. It's a much more contained body of work, paced to keep the listeners interest. From the 'Dark Crawler' intro into the cartoonish horror soundtrack of 'Mirror's Edge', which tricks you into thinking its just any dubstep tune, before scattering into Terror's signature broken kicks and claps. 'Dark Gremlinz' featuring D.O.K. is a classic peak-era asymmetric grime instrumental. The album then drops down into the 130ish speed of 'Air Max 90' featuring Champion, which builds from a soca-like drum drill stretching the rhythm to the point of collapse with a wonky synth, before concluding on a driving baseline house 4/4. The first 'Dark Crawler' vocal is next, with a ferocious performance from veteran Roll Deep MC Riko Dan, who drops bloodthirsty threats at a breakneck pace. Next, the tempo drops down again to the drunk funk of 'Full Hundred', with criss cross claps and a rasping bassline breaking down into live drumming and tight trap door edits. Things speed up a little again with the intricate 8 bar funky of 'Rum Punch', a hard drum tattoo rolling out over a heavy detuned bassline and intense bleeps. On the second 'Dark Crawler', mic duties are shared by Birmingham MC's Mayhem , Deadly and Saf One. Their hard vocals contrast with lush styled R'n'B of 'You Make Me Feel' featuring Meleka. The album then rolls out into the galloping drums and smooth G-Funk synths of 'Baby Oil'. Trim and Kossie drop the final 'Dark Crawler' vocal, with Trim dropping deadpan threats contesting with Kossie's focussed hysteria. Next up 'Delicately', with Ruby Lee Rider, starts in slow motion R'n'B mood, sweet Rhodes chords drift and bubble up as the track doubles up into dreamy drum and bass with a fluttering tabla keeping the time, and Ruby's tender vocals tempering the pace and aggression. Overall, it's a brilliant exercise in breathless rhythmic arousal. 'Moschino', on the other hand is a darker, chunkier and grimier mirror image to 'Delicately', switching up into a ferocious metallic riffage, before the album closes on an outro of 'Dark Crawler' again. Form, function, energy and talent fuse perfectly over 'The Dark Crawler' s length. Enjoy the ride.

* TO CELEBRATE JAMAICA'S 50 YEARS OF INDEPENDANCE 1962-2012 We have put together a set of releases that cover the musical styles that reggae mutated into through it's history, SKA, ROCKSTEADY, ROOTS REGGAE, DUB, DJ STYLE &DANCEHALL.... So Listen Up! and enjoy!Welcome to the Dancehall Sound from Jamaica. The sound that grew out of the dances in Jamaica around the beginning ofthe 1980's.The musical style again slowed
the reggae beat down to give an uncluttered, sparce backdrop, allowing the singers and DJ's more space to express
themselves. Dancehall has never stopped but turned to a digital beat around the mid - 1980's. So Listen Up ! to some early Dancehall classics that set the style for the years that followed....

* Vinyl LP includes MP3 download for all tracks on the CD version *
C.K. Mann made his name as a virtuous guitar player in Ghana when he played with Moses Kweku Oppong in the Kakaikus Guitar Band in the early 60s. He then became the leader of the band Ocean's Strings until 1966. In 1968, he enjoyed a hit with the single 'Edina Benya'.
Mann was known for blending authentic African music with European influences. He was inspired by Latin American music and created a style all of his own. He became known as the 'King of Highlife' in Ghana in the 70's, when he released the record 'Nimpa Rebre' featuring vocals from Pat Thomas and Kofi Yankwon.
Funky Highlife came out of the Essiebons label run by Dick Essilfe Bondzie. According to Dick, this album could have been a massive hit in Ghana but the vinyl factories ran out of stock because of Ghana's economic downturn, so the demand for the record could not be met. The album is a fusion of highlife and soul. The best-known track 'Asafo beesuon' is a multi-layered, drum heavy, funk medley and is over 13 minutes long.

The time has come. The funky nerd and knob-handler Erdbeerschnitzel alias Tim Keiling is releasing his first physical album on Mirau. The young producer, who has moved from his hometown of Mittelfischbach to Bonn, tapped into the lode of versatility early on, and has been extracting one surprise after another ever since. After single-handedly releasing a first digital album that was obviously bursting with ideas ('Pathetik Party', 2009), Erdbeerschnitzel rapidly made himself a name with first-class single releases in the following years on 3rd Strike Records, 4 Lux and Mirau - a name not easily forgotten. The release of the much-celebrated single 'To an End' on Mirau made clear that this was but the beginning of a work together. In the wake of anticipation created by the digital single 'Through the Night', the album 'Tender Leaf' is now available on beautifully packed double vinyl. 'Tender Leaf' is a collection of 12 wonderful tracks, splashing at the edges with Erdbeerschnitzel's signature deep, driving vibe throughout the entire album, pulling us into a pool of swinging, iridescent oomph. Each elaborate audio-bouquet is full of spirit. Sometimes weirdly romantic and introverted, then breaking out into raucous assemblage, flaunting sonar reverb. Keiling's production makes these gems sound like an essence of all the music around us today, which calls out to us in echoing vocal traces. In 'The Mattress Excursions', guest singer 'The Drifter' steers his soulful voice through the escalating arrangement and broken beats as we remember from early Jamie Lidell tracks. Erdbeerschnitzel frequently gives things a humorous turn, flashing us winks from the midst of the fray. His characteristic beat programming, clever and exulting, makes otherwise bland patterns swing into pulsating vivacity; picking up on contemporary styles and aesthetics, he re-animates sounds within his own parameters. Multifacet-flow

With the homespun warmth of his album still keeping us toasty as the temperature drops in the Northern hemisphere, Dave Aju offers up two choice cuts from Heirlooms to receive surgical treatment at the hands of dear friends and respected practitioners in our beloved corner of electronic music. The divine boogie-fuelled electro pop of 'Caller#7' stood out as one of the most flamboyant and earsnagging tracks on the album, so who better to entrust the remix to than Seth Troxler and Subb-an Seth of course is a long-time partner of Circus Company, stretching back to 2008 when he first recorded an EP for us with Patrick Russell. Subb-an may be a new cat to us, but there's no denying the impact he has made with his releases for some of the strongest tech house labels around. In the hands of this formidable duo, 'Caller#7' gets sharpened and honed into a peak-time floor-filler. The vocals from Dave and dOP's Jaw and that inimitable bassline remain intact, with the focus switched to boosting the rhythms that propel this party-starter while a disgruntled caller drops in on Radio KAJU to speak her mind like a true soul sister should. On the flipside, we take great pleasure in inviting the maverick Swede Axel Boman to work his magic on 'Away Away'. After exploding onto the scene in a flurry of hedonistic imagination and cheeky originality, Axel has charmed all that come before him with his releases and his Studio Barnhus label. He treats us to a glorious, soaring version of Dave's track that shuns shortening days and worsening weather, and instead places you at the top of a mountain as the sun rises in a cloudless sky, gently building but never peaking in a truly life-affirming concoction of house music for the heart.

Niney the Observer is well known for his great productions,collaborations,with the likes of Dennis Brown and for some of the best rhythms to come out of Jamaica.Maybe less known is that he began in the music business as a singer.Here for the first time is a collection of songs culled from his career that feature the outstanding voice of the Observer himself.
*Niney the Observer (b.Winston Holness,1951,Montego Bay,Jamaica) grew up in Montego Bay, Jamaica and began singing in school bands in and around the area and the nearby town of Lucea,where one of the bands he sang with,featured future Studio One guitarist Eric Frater.Two other singers that Niney grew up with were Derrick Morgan and Eric 'Monty' Morris. The Derrick Morgan connection brought Niney to the attention of Beverly's Records to whom he sold some of his songs.Producer Coxonne Dodd of Studio One began noticing Niney's talents and offered him some studio time and a base to work out of on Charles Street in Kingston Town. The year was 1957 and Coxonne Dodd released some of these early recordings featuring the vocal talents of Niney on his Studio One label .If Niney The Observers work as a singer was ever in doubt or overshadowed by his many other talents,then we hope that this album will put that to rest.Niney behind the microphone as compared to a mixing desk is a great,great,thing.....
Hope you enjoy the set...

01. BLOOD AND FIRE
02. MESSAGE TO THE UNGODLY
03. BRING THE COUCHIE COME
04. KEEP ON PUSHING
05. MIX UP
06. JAH FIRE
07. ITAL CORRECTION
08. RASTA NO PICK POCKET
09. AILY AND AILALOO
10. HAIL I
11. EVERYONE IS A RASTA
12. BEG IN THE GUTTER
13. OBSERVING THE OBSERVER
14. HIDING BY THE RIVERSIDE

Its been six months since we enjoyed the freshest sounds from Dissonant boss Marc Antona. The release of his 'Darwin' ep for Truesoul and our heavily supported 'In Flagranti' ep, bookended April of this year and saw Marc preparing for his summer residency in Ibiza. The party island played the perfect host to the Frenchman as electrified the floor of Marco Carola's hugely successful Music On parties. Three months on the spiritual white isle was always set to influence and inspire and it was these experiences and special moments that Marc sought to share through his new productions. Our first taster of these summer sessions is the double-header of 'Sorry For The Violence' and 'Thats The Way To Do It.' We are treated to trademark Antona grooves powered by organic percussion and crisp drum work that gives both tracks an uncluttered spacial feel. You can sense the summer breeze flowing through each. As the winter chill draws closer our new Dissonant release allows us to hold tight, those final rays of sunshine.

Aroy Dee's MOS Deep returns with a new EP from Italians Ksoul & Muteoscillator, both of whom have appeared on labels like Uzuri and Ksoul's own Kinda Soul with a gauzy, dense sound somewhere between techno, acid and full on electronica.
'Criminology' comes in two parts on the a-side: the first is a fizzing, almost impenetrable network of analogue lines with acid buried deep below sharp percussion and behind a mysterious little melody phrase, whilst the second features a different sort of acid: it's brighter and seems to twist and turn with a life of its own.The b-side is 'Aphrology' as edited by Aroy himself. The underlying vibe here is house, though a squealing world of ticking machines, squirming synths and jangling percussive rhythms make it a heady and intense listen.Finally, the same track appears in its original form where tumbling drums, bleeding acid and a steppers rhythm join the dots between many different worlds: the heady results are sure to make dancefloors go cerrrrazy.

Boris Werner is known for producing quality music and filling venues with crowds who can't get enough of his energetic and inspiring sound. These are a couple of the reasons why Boris Werner stands with us here today and proudly presents the Slow Dancin' EP, and we think you are really gonna love it. Strings and a relaxed rhythm user in the title track, complete with ambient vocal samples. Then, all at once the bass hits and the kick fills the void; instant groove. A jumpy synth dances over the track and invites friends to the show. Before you know it you've got a full track on your hands. Don't be fooled by the title, as it is indeed misleading. There will be no slow dancing to this gem. 'Missing Out (Dedicated to Ed & Emma) is a bit deeper, but with a warm feel (e-piano on reverb). Then, like 'Slow Dancin'', it catches you off guard with the beat. This is a feel good track, perfect for evenings, deep nights, and early mornings. Not to mention some of the years last open-air festivals. 'Did It In Miami' opens with caution, an indecisive kick with other percussive elements slowly build into an invigorating tech house beat. Grimy vocal samples creep in and the bass line slips under the beat, holding up the track well on a packed dancefloor.

The top futuristic year is 12006: next up on label-owner David Vunk's Moustache Recordings label is a collaboration between him and fellow Rotterdam rogue, Ben La Desh who between them have combined to produce two tracks full of spaced out house, techno, electronic and disco feelings. First up, Turner drops a rich colour palette of vibrant space disco prize strings. The creeping cresecendo of synth-led brushstrokes paint a rich impressionistic glow interpersed with positive vocal samples drifting through like dutch boats in a gale. Next up Deep Valley takes off over the snow-capped mountain tops and towards the flowing river of deep techno drums. Eerie soaring strings and isolated vocal snaps conjure up images of cavernous depths of deep sea and space as we go deeper into the valley of the dolls. With releases coming on strong over the past few years La Desh continues his ascent into production adulthood on the 21st release on Moustache Recordings while Vunk's typical high-class production values shine through this entire release. Further collaborations between this duo would be only gezellig.

JOHN TEJADA'S 'The Predicting Machine' (KOMPAKT CD 102 / KOMPAKT 267) hits the shelves on September 10th, and his second full-length for Kompakt after highly acclaimed 'Parabolas' (KOMPAKT CD 93 / KOMPAKT 234) will also feature album opener ORBITER, a glistening highlight and stand-out track more than deserving of a solo strut down the red carpet. That's where mad scientists SIMIAN MOBILE DISCO enter the picture, procuring just the right amount of flash with not one, but two expertly crafted remixes.

Intelligent Manners highly anticipated 'The Movement LP' is finally here.
After dropping numerous singles and EPs on Fokuz, Celsius, Have-A-Break and a string of other labels he still continues to conquer new musical spaces during this project. Well known producers such as Enei, Command Strange, Nuage and vocalists Iriann Joyce and Pouyah took part in completing some of the tracks on the LP, which has 14 in total.
Intelligent Manners proves once again he is a rising star in the current d&b scene, his productions are warm, tasteful and suitable for a club environment as well while relaxing at home. If slick, melodic and well-crafted dance music is your thing, you've probably come to the right place.

influenced by mid 90's Detroit techno. As with the first release the numbers are limited so don't miss 4 more raw analogue sounding tracks from Black Boxx

Until now, David Mayer needs to be on every radar as a young producer, breathing new life into classic Techno-virtues. Within his productions it seems to be the men-machine pulling the strings. They are grooving through plant floors, they are pumping blood into boilers and with just subtle manoeuvres, they are altering the soil temperature from stonecold to sweat inducing, depending on the current requirements.
Mayers new offering is directly taking on those qualities, while entitling it 'Celsius'. It is indeed glowing floormaterial. It's taking a rampant Techhouse-beat into a well heated Techno-basement, to add more and more condensing arrangements and finally open up for the instantly catching synth-hook. While he's at it, Mayer controls a whole lot of scenes on the side. What he is offering here as particular finetunings and detailed soundmanipulations might lead into hourlong journeys under headphones. At the same time, the floor-efficiency of this tune couldn't be more in your face.
Then there's the synth-tool on the flipside, leaving the kickdrum's thickness behind, opening the door a bit more into the crystal clear synth-arrangements. Without a doubt, it'll equip you with a tool, that's letting the crowd feel save in the believe of having a little breather, to finally cook them in their own excitement in almost no time.

After the 2012 re-treatment of "I´m Lonely" Hollis P Monroe returns to Noir with his brandnew single featuring Vocalist Overnite. Remixpack comes from Mario Basanov and Argy (Pokerflat, Ibadan, Cocoon).

This wonderful self-titled album by pianist, singer and composer, Johnny Alf, was first released on vinyl in 1966 by Rozenblit. Here the bossa nova pioneer sings beautiful songs, featuring the legendary musicians Hermeto Paschoal (flute) and Airto Moreira (drums)

LIMITED EDITION : first 1000 will be numbered & limited transparent blue vinyl !
Home to E.L.O.'s world hit 'Mr. Blue Sky', Out Of The Blue is a multi-Platinum selling double album by the iconic pop rock band from Birmingham. Renowned for Jeff Lynn's elaborate productions and arrangements, Electric Light Orchestra proved they were able to expand on their success formula of Beatlesque classic rock songs. The album yielded classic E.L.O. songs such as 'Turn To Stone', 'Sweet Talkin' Woman' and 'Wild West Hero', all becoming hits in the UK. A nine-month tour followed its release in 1977 that set new visual standards for stadium rock acts, incorporating a giant space ship, fog machines and laser displays. Music On Vinyl celebrates the European rerelease of Out Of The Blue with a limited run of 1.000 on transparent blue vinyl.

Soap Dodgers long awaited Unleashed EP, featuring tracks battered by N-Type Youngsta, Hatcha, Dismantle, MistaJam and Tubby Newham Generals.Unleashed: Unleash the beast! Skanking dark half stepper with the energy to match any tear out tune. Bassline is raw and twisted, dark and industrial. This track is thick with sub, but spacious following the code of the original dubstep sound.Waterlanding: This track was championed by Youngsta late last year. Future dub technologies, skanking reggae dub style with a 2012 twisted bass and 808s.Strobes: Catering for the more jump up side, this is the lighter side of the E.P, as its title suggests, rave driven glitchy, hard and furious. Reminiscent of Benga and The Others.Twister: Euphoric build ups, industrial filtered bass, and a sample that spells it all out; Twisted! A favourite with N-Type & Walsh.

14 tracks: Maniac Lover, All I Can Do Is Cry, Chick Habit, Johnny Are You Gay, Raw Deal, I'm Gonna Dry My Eyes, Clarksdale Boogie, Nothin' But You, Moonshine Song, Walk Italian, Live The Life, The Long Way Down, Brown Eyed Boy, Poupée De Cire, Poupée De Son.

Next up in the Delsin house series is a man who's been perfecting it for years - Düsseldorf's Andy Vaz. The boss of Yore and Background Records, Vaz has released two full lengths and many EPs to date, always exploring a heartfelt brand of electronica that draws on house, techno, Detroit and Chicago in equal measure.

Here he serves up two versions of the same track - 'Don't Lose Your Mind'. Both feature the sweet vocal stylings of Niko Marks and the first, the Soul Version, is all ditty, bouncy chords, floating, summery saxophone lines and warm, effusive synths.

The second House Dub mix is a little sharper - the claps cut through the soupy sonics like a knife and as a result the groove has a more urgent bite. Still stuffed with plenty of human loveliness, though, both tracks are surely set for many spins this summer given their classy feel good vibes.