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We all know anything released on Mystic Quantum is worth buying for the cover art alone, and this mightily impressive return of Legowelt is certainly no different. Beautiful on the inside and out, it's packed with the kind of delicately detailed soundscapes we've come to expect from the revered producer, who proves every bit of the musicality we associate him with across seven very good tracks.

'Squirrel' is perhaps the exception to the rule, its frustrated and distorted rumbling breakbeat and chain-gang high-hats cry out for some monster or other to be fed through the arrangement. On the whole, though, this is far from club stuff, opening on the lush bleeped harmonies of 'Once At The In & Out Burger Academy', closing out on 'Vesper Sprites'' mysterious, breathy refrains and metallic percussive accents, by way of the cinema-worthy piano piece, 'Meekian Lovedance'. Enough to keep you going until next month's album.

PRESSED ON ECO-FRIENDLY VINYL AT THE GREENEST PRESSING PLANT IN THE WORLD

The ends of days are ones with which Damian Lazarus is familiar, but, much like his biblical namesake, he too, has come back from the brink and risen to fight on, his career is interwoven with themes of survival and re-birth. Fittingly then, his second solo album does not wallow in our current dark times but charts a path of hope. Flourish, offers a glimpse of a new world worth living in and surviving for.

Flourish takes us through the many lives of Damian Lazarus, who, as he has grown older, and traversed the globe, has come to more deeply examine the role the dance floor plays in his own life and that of others. With parties cancelled, it would have been easy to wallow, but instead urgency took hold, and isolated Italian countryside Damian took the space to tackle the larger questions he has been grappling with for years.

As anyone who has watched Lazarus DJ can attest, his inspirations are deep and varied, criss-crossing show tunes, drum n bass, jazz, electro, soul, house, techno and everything in-between. This album reflects his immersion in a multitude of scenes over the years, from the early days of London drum n bass, to his role as a figurehead in the electroclash scene, and of course the significant impact his Crosstown Rebels label has had on contemporary underground house and techno. Flourish is far from a box of functional DJ tools, in the same way as Damian’s debut album Smoke The Monster Out or the more worldly outings in his brace of albums with the Ancient Moons. It’s a personal, brave and varied body of work. It’s also the work of an artist who has grown over the ten years since his last solo album. Lazarus plays with nuances of texture, tempo and style to create a rich and dense album that takes us on an odyssey that is at times both dark and uplifting. Vocals of his own cast an intimate shadow over the album with those of his sole collaborator Jem Cooke offering a soothing balance amidst the madness.

Damian’s work reminds us that however taxing the journeys there are always moments of beauty to be found.

Monster garage rock 45 which might appeal to funk 45 collectors too! "Fire" is certainly one of the best cover versions of the Jimi Hendrix classic, drum breaks galore! The flip side is an original composition from the band and equally great.

Limitied to 250 copies!

The Magic Movement welcomes Anatta to the family with her Fields Of Play EP.

Following her debut Album on Random Collective, her new EP comes as a four-track package:

In the original mix, Anatta invites us to discover a sonic world between pitched down UK House and future-primitive downbeat.
Rough Drumbeats, quirky synths, and catchy vocal chops guide us through a sophisticated arrangement with unforeseen twists and turns.

Salon des Amateurs resident Tolouse Low Trax delivers the 'Knights & Wheels Remix' in his signature style: While a hypnotic vocal loop hooks you up from the very beginning, minimalistic and dreamy synths slowly submerge the listener into a jam of stripped-down Lo-Fi funk.

The 'Beat Mix' by Rio de Janeiro's sound wizard Carrot Green and long time family member of the label, speeds up the tempo, and puts together a groove of classic electro boogie vibes with a P-Funky bassline that sounds like a futuristic liaison between Afrika Bambaataa and George Clinton.

Increasing the UK house vibe with strong drums and a wobbly bassline, Noema's 'Acid Ghetto Style Remix' works the mysterious vocals of Anatta into a delicious hook and creates a highly animating and fun dancefloor monster.

And now, let's get weird!!!

House and techno focussed FINA sister label FINA WHITE comes through with more direct dance floor grooves from Bodyjack, aka Chris Finke. The veteran artist serves up two killer tracks, one dub and four locked grooves that provide serious heat for DJs and dancers.

Before now, former DMC competitor Finke has established himself with his Bodytrax label in association with the Clone.nl crew, standout mixes for Radio 1 etc and EPs on the likes of UTTU, Hypercolour and DEXT, all while being a famous former resident of titanic techno party Atomic Jam and playing the world's finest clubs for years.

Arresting opener 'Measure Twice, Cut Once' is a big, buoyant techno monster with warped acid lines and raves vocal stabs all adding fuel to the fire. The locked grooves serve up scintillating breakbeats that are hugely powerful and ripe for abuse in the club, and then 'Enfant Terrible' is a dark and eerie warehouse monster. The bass is loud, the kicks rock solid and an echoing female vocal lost in the midst of it all draws you in deeper. Closing things out, the dub versions strip things back to gritty chords and heavy, well-swung kicks that make you march.

This is high class, high functioning techno from one of the finest in the game.

First up is Nehuen, an Argentinian born but Barcelona based artist who is notorious for his abrasive dance floor workouts on I Love Acid, BNR Trax and the Classicworks label he co-owns with Cardopusher. Cardopusher is, of course, a true electronic legend from Venezuela. His dizzyingly diverse sound takes in rave, acid, electro, techno and house influences and distills them into hugely
Raw and energetic new forms.

Nehuen's Psyops Part One kicks off with the excellent title track, which contorts acid and electro into a writhing monster filled with dark energy. The visceral 'Toxic' is built on slapping hits and spangled basslines that will tie you in knots as the bumping drums drive things forward. The late-night menace continues on 'Bailar', with tight synth arps layered up in robotic forms over clunky drums that are industrial and futuristic in equal measure. Last but not least, the eerie 'Desire' strikes a more twisted note with double kicks juddering beneath echoing hits. It's pure, filthy, brilliant body music.

Cardopusher kicks off Part Two with the fantastic 'Disobedience' (feat. Lbeeze) a slow-motion drum workout that is like dark disco mangled through a psychedelic filter, with robotic vocals and stiff arp
jerking your body. 'Abyss Antidote' is then a flurry of drum breaks and electro bass, frazzled synths and whipping hits that keep you on the edge of your seat. Darkness abounds on the gritty 'Initial Decay' (ft. Lbeeze), which layers up taught drums and hits with spraying synths that come from a dystopian planet.

Closing out this epic mini-series is 'Mutant Brain', a cyborg techno meltdown with manic acid for
company.

These are devilishly distorted tracks from two of the best producers around.

One of Drumcode’s finest, Bart Skils returns for his first solo EP since 2018.

Bart Skils remains one of the label’s most consistent achievers going back to his debut in 2012. Eight original EPs, a stellar remix of Moby ‘Go’ and his now-classic collaboration with Adam Beyer ‘Your Mind’ have entrenched him as a DC treasure. All the while the Dutchman plays a nurturing role with the label’s nu-skool brigade, regularly playing B2B with Layton Giordani and teaming up with Weska for last summer’s ‘Polarize’ two-tracker.

His ninth Drumcode EP ‘Settle In The Sun’ delivers the first productions from his new studio after six months of preparation. The title track was inspired by an extended stay in LA over New Years, channelling the energy of Venice Beach’s vibrant skate culture to create an uplifting, big riff weapon. ‘Tropical Heat’ took influence from Bart’s experiences touring South America, as an evocative vocal sample and rave-kissed melody line run alongside a wicked rolling groove. ‘Shiva Says’ is a peak-time, brain-mangler in the best of ways, driven by a monster synth line that grows and contorts as the track progresses.

Young gun and badman producer Retina returns to Foundation Audio for his debut vinyl release and quite frankly it slaps!!!!

‘Dusted’ kicks things off with a hyper 4x4 beat and an eratic bassline – this one comes flying straight out of the gates! ‘Nameless and Nothing’ a meaner, beast with its eerie atmospheres and plodding bassline takes the A2 spot. Flip the record and we have ‘No Fear I’ a subby monster best described by the word SUB. ‘If Not The Orb’ closes proceedings with a 07-08 old skool antisocial kinda vibe wrapping up the ep perfectly. Dubstep goodness from front to back and solid proof that Americans can also do the dubstep.

Conrad Van Orton and Jheal sign the third release for Eyes Have It, 30D sub-label that, as usual, explores the darkest, coldest and even suffocating side of the techno spectrum.

As it happened in the second release (‘Sei Tracce In Nero EP’ by Reeko & Group), the high contrast between both sides gives sense to the album, giving it a strange but perfect balance, this time quite more oriented to the dance floor. It’s for sure that some people will think that CVO and Jheal might use elements that at first sight might be familiar but, let’s be honest, both have the ability to make everything sound very original.

On the A side Conrad Van Orton, an Italian producer with a lot of experience in techno and the most experimental electronics, elevates the listening to a sonic musical experience, literally. The three tracks, although ‘Dysfunctional Organic Device’ is probably the best example, are pure techno brutality, as highly raw, energetic and obsessive as they are obviously functional. Three true ‘monsters’.

On the B side Jheal, a face already known to the label thanks to his brilliant participation in ‘Close Encounters 002’, brings melancholy (‘150 Wreaths’) and tons of introspection (‘Our Fathers’) to the record. It is not easy for industrial techno to sound as emotional as when Alejandro manipulates it, something especially remarkable for such a young producer. Congratulations.

First up is Nehuen, an Argentinian born but Barcelona based artist who is notorious for his abrasive dance floor workouts on I Love Acid, BNR Trax and the Classicworks label he co-owns with Cardopusher. Cardopusher is, of course, a true electronic legend from Venezuela. His dizzyingly diverse sound takes in rave, acid, electro, techno and house influences and distills them into hugely
Raw and energetic new forms.

Nehuen's Psyops Part One kicks off with the excellent title track, which contorts acid and electro into a writhing monster filled with dark energy. The visceral 'Toxic' is built on slapping hits and spangled basslines that will tie you in knots as the bumping drums drive things forward. The late-night menace continues on 'Bailar', with tight synth arps layered up in robotic forms over clunky drums that are industrial and futuristic in equal measure. Last but not least, the eerie 'Desire' strikes a more twisted note with double kicks juddering beneath echoing hits. It's pure, filthy, brilliant body music.

Cardopusher kicks off Part Two with the fantastic 'Disobedience' (feat. Lbeeze) a slow-motion drum
workout that is like dark disco mangled through a psychedelic filter, with robotic vocals and stiff arp
jerking your body. 'Abyss Antidote' is then a flurry of drum breaks and electro bass, frazzled synths and whipping hits that keep you on the edge of your seat. Darkness abounds on the gritty 'Initial Decay' (ft. Lbeeze), which layers up taught drums and hits with spraying synths that come from a dystopian planet.

Closing out this epic mini-series is 'Mutant Brain', a cyborg techno meltdown with manic acid for
company.

These are devilishly distorted tracks from two of the best producers around.

Can you truly believe this record was released in 1965 ? Forging a brand new hybrid of space-age, easy listening and spy jazz the American pianist and composer born in New York in 1927, put together one of the cornerstone of the genre. Before switching to the Moog synthesizer ( right on time with the moon landing in 1969) he had some very influential theme music releases on MGM Records and Command. But The Man From O.R.G.A.N. was a monster in itself. How could you go wrong with this trio of guitars, a bassist and three guys playing percussion? And Dick himself bringing the Lowery Organ (and the Theater model in particular) to the front of the stage ? Dig yourself !

Sometimes, what seems “to be” ... isn’t. And what “was” actually wasn’t. What’s "in" is sometimes out. And what was thought to be "north" is sometimes south.Similarly, up until now, there just wasn’t enough ... of TOO MUCH.
That’s how its been, ever since dynamic-duo TOO MUCH — Rich Morel & Ian Svenonius – let the world listen in on their once-in-a-millenia electro-beat gobstopper “PATENT LEATHER” (MERGE RECORDS); the monster hit which defined dance floors since its release in 2019.
“PATENT LEATHER” a bewitching blend of lechery and love, was tattooed on the brain of every loitering lothario in every night-club, roadhouse, and streetlight latrine in both the free and not-so-free worlds.It was so incessant; it shook houses down, burned parliament, and crashed the stock market. Dancers everywhere pleaded for more.
TOO MUCH have finally relented and deigned to give the heaving, begging, prostrate mass a new mess of motor-robot rhythm rockers. Yes, that's correct. TOO MUCH have a full length record and they call it ... “CLUB EMOTION.”
CLUB EMOTION is nine songs of pure ecstacy perfectly suited for the club, the car or the closet.Its a pure joy to listen to in one’s bedroom or at the beach. On a stroll, at a drive-thru, or while careening through the astral-plane, looking for a ro- mantic rendezvous.

After a way long and overdue pause with music the Sugarloaf Gangsters duo is back again where they belong...on GAMM!

Mark & Cliffy aka Sugarloaf Gangsters have a long history with Brazilian and world inspired dance music and have that magic touch when it comes to spotting rare tunes that needs their signature rework style.Â

The A side 'Temarasa' literally explodes from the first breakbeat with a big Brazilian funk-jazz monster, peak time music.
The flip is all about the drum! 'Chor Gway' is an African style percussive jam that's got everything from crazy chants, sound efx and DJ friendly tempo changes.Â

Another G.A.M.M sureshot !!

NITRIBIT: Harmonic Drive - SAMOA PARK: Tubular Affair - TELEX: Moskow Diskow - S-50: Input - BOYTRONIC: You - AXODRY: Feel It Right - SILICON DREAM: Marcello The Mastroianni - LASER COWBOYS: Ultra Warp

Stix Records, a sub-label of Favorite Recordings, is back with some heavy dub cuts from label regular Mato.

Starting his reggae production career in 2006, Thomas Blanchot aka Mato has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime he developed a real trademark: taking over classics French, Hip-Hop, or Pop song, into roots reggae-dub new versions. Besides since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records.

Today, Mato is back with another target for his special skills as a tailor of reggae music, this time focusing on classic musical themes from R. Strauss’ "Also Sprach Zarathustra" and Herbie Hancock’s "Maiden Voyage ". It’s a great sensation to hear these melodies turned into superbly crafted Dub monsters. As Mato once said, "Play it loud and burn a chalice!"

The third vinyl-only release on Form&Terra Records is all about "Get together". Four artists gather on the 12 inch record to undertake a journey into electronic music together. First, Peter F. Spiess saddles his shimmering "Celluloid Pony" with minimal and techno vibes and rides high into the air via rough sound structures and flashing melodies. There Cie built his "Wolkenburg" and floats with it groovy and with great attention to detail into new layers of the atmosphere. On the B side, "Numbers Talk" by Prakash from Gran Canaria enchants with a wonderful groove that is as deep and blue as his home in the Atlantic Ocean. Markus Funke ushers in the final trip back to Cologne with his dubby techno monster "Levissima". Four wonderful tracks for all discoverer who have a thirst for adventure on the dance floor.

We gladly present the long awaited debut album by kurdish multi-instrumentalist Philippos Sîpano and Frankfurt am Main’s mighty duo Dan Bay & Le Rubrique aka The MPC Orchestra. “The Spirit of Dilovan” pays tribute to Philippos Sîpano and Dan Bayat’s youth band “Spirit Of Dilovan”, sketches the different musical paths the two took over the years and finds its final form in their new collaboration with Dilovan Le Rubrique, a master in the studio and a true patchbay wizzard.

With multilayered arrangements based on different kurdish music traditions and inspired by their indivudual experiences of Pop- and Clubculture, Philippos Sîpano & The MPC Orchestra’s new album can be both perceived as diasporic Popmusic or epic dancefloor monster for experienced music lovers.

All songs were produced at Offenbach’s Upper Citycenter Studio and dedicated to all DIlovans* out there, hoping they will one day constitute the majority of all people and we will all find peace, love and habibtiness on planet earth.

* good-hearted people <3

Known for his grainy, analogue dance floor hits, Hungarian artist Norwell has returned with a powerful and transcendent 4-track EP, releasing through Fanzine Records. "In Between" EP is a drum-heavy, intricate series of grooves and soundscapes that draw the listener in from the beginning. While remaining faithful to the tendencies of techno, this record brings something of its own to the table in the form of acidic basslines and retro Kosmiche synth parts, resulting in a stunning array of textures.

"Eastern Echoes" is the opening track on this EP, and it deserves that spot. Combining an intense, Aphex-esque drum beat with hazy, dreamlike Middle Eastern inspired vox and pads, this track is a pumped-up monster of an introduction to the EP. This is immediately followed up with "Evaporate Yourself", a dark and brooding beat with a serpentine bassline that creeps its way through the track and combines with the lush, ethereal ebb and flow of the detuned synths and horror-themed vocals. This track is as cosmic as it is industrial, and sits on the fence between the two in a very unique way. "Model 244" on the other hand utilises a much more 70's modular sound reminiscent of early Kraftwerk hits adapted to the modern age. The track builds layers upon layers of left-field percussion that dance around the central arpeggiated bass in a very pleasing way, and Norwell doesn't leave out his signature glitchy, mechanical soundscapes, which give the track its glorious tension and release. The EP is rounded off with "Repetition Void", potentially the most experimental of the four tracks. Flanged hi-hats dance around the listeners ears and hazy analogue keys induce a hypnotic trance, exacerbated by the almost Papal choir vocals that fit seamlessly into the background.

As Norwell's first release through the Fanzine Label, this EP is dark, it is foreboding, and with the unexpected turns the rhythm takes, it doesn't care about your feelings. If you're ready to be punched in the face by this sci-fi horror listening experience, watch for the release of this EP, Fanzine latest addition to their roster of tasty electronic jams.

We first encountered DJ Varsovie back in 2018 when Guillaume Labadie proposed him as the remixer for Walpurgis Night on the I Hate Models / Khemia release Midnight Cults.

So the dark love affair began and developed into an intoxicated obsession, The spores were planted in the dark substrata late at night and the mycelium thread led us to where you are now. The Monster devoured the Labyrinth.

Once more we're ready to take flight on Africa Airways, for this sixth journey we're taking you above 5280 feet and laying on the funk.

The flight opens with the punchy horns, afro rhythms & groovy bass of Eko Roosevelt's "Ndolo Embe Mulema". Keeping the tempo high we usher in fellow Cameroonians JM Tim & Foty for another punch of brass with the funky "More And More (Ye-Male)". We stay in Cameroon with Ngalle Jojo, here he lays down another funktastic bass heavy stomper with "Ngigna Loko". Jude Bondeze hails from Bangui, Central African Republic and is probably best known for his more traditional Tene Sango album... but his debut 1981 release saw him in a very funky mood indeed!

Next up, Nigerian Vicky Edimo gets his thumb out and lays down some glorious slabs of deep funk... along with a rather splendid bass solo! JK Mandengue played bass off & on for the British Afrobeat band "Osibisa", playing on the uber funky "Super Fly TNT" Motion Picture Soundtrack album.. Certainly putting him on a path to the Wahahwah'tastic "Kosa Mba" taken from his 1979 self-titled album.

Slow percussive classic raw street funk from Nigeria's Akwassa, who's line up is the same as "Heads Funk Band", are up next. Another outing for Vicky Edimo on this 1978 beauty from Mike Kounou. Also on guitar duties for Mike Kounou is Francois Amadou Corea, who's funky chops can be heard on "Ngigna Loko" & "Njonjo Mukambe".

Hi-Octane funk from Airto Fogo, percussion, rhodes & horns aplenty on this 1974 instrumental cut "Black Soul". As we prepare to start our decent Francois Misse Ngoh drops in some filth with this 1980 bass face monster "Njonjo Mukambe"... head nodding isn't essential, but it's best to brace yourself for impact.

Your next Africa Airways departure will be ready for boarding soon,
so keep your passports at the ready!