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Norman Jay MBE presents his latest compilation, titled 'Good Times Skank & Boogie', set for release 9th October 2015 on Sunday Best Recordings. This is his first compilation since 2011's Good Times 30th Anniversary Addition and follows on from his hotly anticipated Good Times Goes East party at St John Church at Hackney on 29th August.
Norman Jay is undoubtedly one of the finest and highly respected DJs in the world today and yet again pulls from his impressive collection to provide the ultimate eclectic selection.
For this 12th compilation, for those of you counting, Norman kicks off with St Germain's version of Henry Mancini's Pink Panther Theme. A cult favourite from 2004s Pink Panther Penthouse Party album, it of course immediately brings Peter Sellers to mind and a smile to your face. Next up former Uniques front man Slim Smith's Everybody Needs Love is a classic from 1968, cut at the legendary Duke Reid's Treasure Isle studio. Penned originally by Motown heroes Norman Whitfield and Eddie Holland and covered by household names including The Temptations and Glady's Knight & The Pips, Slim's version became something of a signature tune until his mysterious death in 1971. Sticking with Motown, Stevie Wonder's Living For The City is up next but it's the Michael McDonald rendition from his 2008 album Soul Speak, which proves the man who gave us the sublime Sweet Freedom had lost none of his class 20 plus years on.
D-Influence's Good Lover takes things up and brings them closer to home, to the streets of London infact. After a couple of independent releases the band, who had strong connections to the London Jazz and Soul scenes, served up this contemporary boogie tune as part of their 1992 debut long player for East West. They would subsequently score hits as a production team for a number of British R&B acts. Homegrown soul continues with Paul Johnson's Better Than This, released here via longstanding UK soul imprint Expansion to deserved acclaim last year. It's quality and appeal are simply timeless, whilst master Dego and Kaidi's mix adds a classic 80s soul dimension to proceedings.
The Chi-Lites I Keep Comin' Back To You and The Real Thing's Love Takes Tears continue and expand the 80s theme, bringing in 2-step and boogie, as does Deodato's Never Knew Love from the same period.
We switch again with Delroy Wilson's Better Must Come, a massively popular sufferers lament from 1971 by this former Jamaican child star, it would go on to be used in election campaigns by various Jamaican political parties. Kent People by Laurel Aitken & The Gruvy Beat is the next one out the box and was the flip to the 1969 anthem Skinhead Train. It features the UK's top reggae band of the era The Rudies, who along with Aitken, the widely-proclaimed Godfather of Ska, comprised of Earl Dunn (lead guitar), Trevor White (bass), Sonny Binns (keyboards) and Danny Smith (drums). They would go on to enjoy UK chart success backing singer Freddie Notes before they evolved into Greyhound. From the same year Splash Down by The Crystalites is another slate that ignited dance floors in both Jamaica and the UK upon release. Some of you will have noticed the rhythm track is the same as that of the earlier Kingstonians' best-seller, Sufferer, which came courtesy of legendary producer Derrick Harriott.
As the end draws close The Stone City Band featuring Rick James serve up some hard edged boogie, hotly followed by a classic Tom Moulton slice of late 70s disco courtesy of The Fantastic Four and their I Got To Have Your Love. If that doesn't have you dancing then Chanson's superb Don't Hold Back featuring James Jamerson Jr. on bass will leave you no choice. Classic Good Times indeed.

Only 150 worldwide

After more than 10 years in the game and a string of successful
EPs to his name, Idriss D releases his first proper album on his
own Memento Records. At first conceived as a succession of
singles for his Dib 00' series (the first two being Constantine
and Alger), the project then became more of a collection of
dance floor tracks influenced by what he likes to play in his DJ
sets. The title Amalgamation' comes from the desire of
bringing together his life experiences over the last few years,
both music-wise and from a marketing and management angle,
this time exclusively focusing on himself and gathering all the
inputs in one single piece of work. Transition''s atmospheric
vibe and ethereal sounds open the LP with a blast of hazy
vocals and noises, followed by the percussive and trippy Casa
Baratas', a nod to the early 90s Acid House movement.
Karma''s pounding kick drum and stripped down arrangement
are a true example of Minimalistic Techno at its wildest. The
more personal RIP Ouarda' was composed in memory of his
grandmother who passed away: dark and hypnotic, it stands
out as one of the most experimental on the album. Title track
Amalgamation''s landscape of lush eerie synths makes it a
blissful comedown number, while Parall-el''s bouncing rhythm
speeds up the pace to high effect. Strong Hayet' is dedicated
to his mum, a source of continuos strength in Idriss' life,
both in good and difficult times: the heavy bass line and almost
obsessive looping vocals and hi-hats are icy and dramatic.
Barn''s pitch shifts and manic vocal samples swing through a
maze of rim shots and toms, its stomping groove and pulsing
beats closing off the album with a bang.

Second vinyl on borft by EDMUNDY. Glamour meets underground. Catchy stuff, good feelings, helicopter sight. (Notice: Old Edmundy records selfreleased on Suitalble = Still available....somewere...)

Mental jacktrax by Gerry Read. Easy to resist these non-formulaic jack tracks in the days of conformist dance music cause its not the tunes that will make your crew do the fist pump thing during the weekly big headliner rave... but we like!! Mr Read is funky as fuck and reminds us a bit of dutch Techno punks Unit Moebius (which is always a good thing!!).
Some feedback from family and friends:
Moxie Feeling the darkness of this and the percussive beats. Thanks'
Leon Vynehall really great'
Mosca Ur Head and The Grand National are wicked genreless things'
marcel dettmann thx'
Aera I love the romantic melodies. Will definitely play on my next wedding party!'
Ambivalent I've been a big fan of Gerry Read's stuff for a while. His stuff definitely doesn't sound like anyone else. I love Tango, Woosy and Ant Eater Robot. Thanks for sharing!!'
Danny Daze freaking huuuuuuuge gottttt daaaayum!!!'
Vin Sol WIld ass trax! Woosy gonna make it's way in to my sets'
RANDOMER Enjoying 'Tango''
Arttu Bonkers! and I LOVE all of it!!! :D'
Paul Woolford Truly demented in all the right ways. I'm going to play 'Stand By...' out for sure.... Thank you !'
Marco Bernardi liking this mad shit'
DJ Haus BIG'
DJ Deep Dope!'

This is France in the Mitterrand years: fashions fleet as fast as governments. In the early eighties, the happy-go-lucky gather the nectar of each and every new release.
Believing in a bright future for videotex, and loosened up by the sexy talks broadcasted on the budding pirate radios, the new generation dreams of dance floors and holiday clubs. French Boogie, which preserves the spirit of these years of boodle and bunkum, is the ideal soundtrack to their dreams.

What the web now refers to as French Boogie is some synthetic funk reflecting the spirit of those days when nothing was impossible, or so it seemed. Its syncopated flow heralded the dawning of French rap. Often considered as some kind of post-disco, inspired as much by black music as by new wave, this carefree pop music with bawdy lyrics indulged in simple pleasures: holidays, swank and sun were recurrent themes. Totally in tune with its time, it incidentally glorified luxury, success, and a certain consumerism embodied, for instance, in Bernard Tapie.

In popular clubs such as La Main Bleue in Montreuil, or L'Echappatoire in Clichy-sous-Bois - where Micky Milan could be seen behind the decks - an enthusiastic audience discovered this new sonic wave, influenced as much by French pop as by Sugar Hill Gang or Kurtis Blow. The artists who first launched the movement engaged in it wholeheartedly, but as often the case with new music trends in France, humour and casualness quickly became a decoy to impose a new style. This explosive mixture, in which startling and typically Frenchy French lyrics go along New-York-style tunes, is sometimes reminiscent of the kinky comedies directed by Max Pécas or Claude Zidi. On this prolific scene, partly originating from the Jewish community, everybody was looking for success, trying to hit the jackpot with what was to hand. Famous media personalities, one-hit wonders or John Does in quest of fame, all had a go at French Boogie - more or less successfully. Apart from « Vacances j'oublie tout » by Elégance, « Un fait divers et rien de plus » by Le Club, or « Chacun fait ce qui lui plaît » by Chagrin d'amour (produced by Patrick Bruel), very few songs became hits: the story of funk in France is that of a half-baked robbery.

In this myriad of new musicians, the very young François Feldman and Phil Barney pioneered a fresh and hybrid style. Other well-known artists like Gérard Blanc from Martin Circus (Attaché Case), Richard de Bordeaux (Ich), or Jean-Pierre Massiera (Anisette, Pirate Scratch Band, Mandrake, Scratch Man...) added an eccentric touch to this sound-wave, making it often entertaining, and sometimes showy.

Capture d'écran 2015-10-26 à 12.55.43Singers like Agathe (the author of 'La Fourmi' and of the hit song 'Je ne veux pas rentrer chez moi seule') were far more than just window dressing. They even tried to give an ironic and subversive twist to this rather harmless genre. The very vindictive rebel Gérard Vincent shared in this spirit, but as a whole, French Boogie became associated with nonchalance and sauciness. Thus, Stéphane Collaro, Gérard Jugnot, Alain Gillot Pétré and other TV clowns would clumsily contribute to this French variation on funky sounds. In a few but intense years, French Boogie gave all the tips to party with style.

If some hits made it possible for the happy few to get a real house under truly exotic palm trees, the wave actually ebbed away very quickly, leaving quite a few musicians stranded on the shore. Whether they were sincerely motivated, or simply opportunistic, they had failed. In 1984, French Boogie was already breathless, and got merged with other genres: on the one hand, rap and breakdance adapted its flow to a more urban world, especially with Sydney's show, H.I.P.H.O.P, and Dee Nasty's broadcasts on Radio Nova; on the other, italo, new beat and house began to rule over dance floors, even more strongly asserting the will to develop music for clubs.

Squeezed in between the age of disco and that of modern electronic music, French Boogie was a transitional phase, but it remains an amazingly refreshing testimony to the intermingling of pop and underground cultures. The genre was hastily categorized as anecdotal in spite of its pioneering synthetic groove and matchless bass lines. An attentive ear will discover the poetry of the ephemeral beyond the eccentricities of the genre, as well as a certain unexpected avant-gardism. At the origin of major music trends, always cheerful and catchy, French Boogie is what you need to party.

To anyone with even a passing interest in the weirder end of good-time party-ready house music, Freaks should need little introduction. Luke Solomon and Justin Harris have been keeping our preferred kind of dancefloor vibrating to the cheekiest manifestations of house music since the mid- 90s, never letting up and moving in the same oscillations as the good ship Circus Company. From first emerging on Phono through to setting up their Music For Freaks label, stopping by Playhouse, Wash House and Rebirth amongst countless other labels along the way, the UK duo have constantly given the traditions of house music a tickle in the ribs without losing that fundamental funk that makes a record great to dance to. We were thrilled to welcome Luke and Justin to remix Dave Aju's 'Nu Threads' at the end of last year, and now we follow up on that connection with a special EP of gems from the extensive Freaks archives. On 'Shrunken Heads (One Pro Mix)' the rock solid foundations of filter house music collide with flamboyant synth noodlings for a truly cosmic end result, while 'Absolut Zero' finds solace in a slower, deeper groove peppered with oddball effects tweaking and disembodied vocal samples. Heading further into loose-fit, slippery territory, 'Funk You (Who Do You Trust Dub)' lets soulful sample licks wriggle and writhe through a decidedly laid-back atmosphere that shows off the range Freaks have always sported in their output since day one. In many ways this coming together of Circus Company and Freaks feels like a logical development for two bastions of the oddball house music community, not to mention a great opportunity to hear tracks that otherwise might never have seen the light of day.

This project is a long distance collaboration between two amazing artists : Andrea Noce and David Kristian during the year 2013. Each track have been made after set up basic guidelines (style, tempo, structure, and workflow). « It was exciting to think two people on different continents, using different setups, and software, could find a way to exchange loops and build a track in the space of 36 hours. » In the line of label such as Innovative Communication or Edition EG , this record is completely intemporal, made for the past, the present, the future, with marvelous atmospheric and space sounds, escape from your body and synchronise. We are really proud to lunch it on Macadam mambo today.David Kristian has been making electronic for over 20 years, composing everything from experimental music to IDM, electro and synthpop. With over a dozen albums and countless 12"s and compilation appearances, David's discography continues to grow. David's soundscapes and soundtrack can also be heard on everything from science-fiction and horror movies to promotional spots for an X-rated cable channel.Andrea Noce is a very talented singer, producer, polynstrumentist and visual artist based in Berlin, she has many different projects in solo (Eva Geist), in group (Vera Mona, Le Rose) or collaborations.

Jemek was never easy to read: Is he serious or is it all a
joke
With his new album »Jemek Jemowit is Doktor Dres« the one-man
band, DJ and conceptual artist that is Jemek Jemowit moves
between old-school rap, Southern trap and EBM, skillfully
mixed by the infamous hardcore techno legend Marc Acardipane.
Jemowit's anarchistic-dadaistic and often quite explicit
lyrics (there is a sticker on the front of the vinyl record
warning the listener of »swear words«) the, to quote the
artist, »post-patriotic« Jemek sings in Polish, the language
of his parents and in German, the language of the country he
grew up in, he studied in and in which he lives today.
On his last »hyper-patriotic« (Jemowit) EP »Tekkno Polo«
which came out on the Polish Label Oficyna Biedota in 2012,
Jemowit focused on Polish culture in Poland. On the Polish
market the Pole with a German passport, presenting music that
was recorded in Italy and which had used the Polish sub-genre
»Disco Polo«, the Polish equivalent to »Euro Dance«, as
template was an exotic. Subjects Jemowit touched were
national dishes like bigos or bizarre figures of Polish pop
culture. Was he serious or was it all a joke
Until today Jemowit finds it »remarkable«, without taking
sides, that Poles in Germany »so easily adapt, they seem to
merge into German culture so quickly«. On his new album
»Jemek Jemowit is Doktor Dres« which is released on the
Berlin-based label »Martin Hossbach« Jemek embraces the role
of the Pole in Berlin. In Polish, peppered with new word
creations and grammatical mistakes, he states that his alter
ego »Doktor Dres« (Dres is the Polish word for tracksuit)
leads a better live in Berlin that he used to do in Poland.
He often switches into the German language, too. In an
interview with label founder Martin Hossbach Jemowit said:
»I'm the perfect Pole in Germany who goes shopping at the
most expensive warehouse in West-Berlin, the KaDeWe, without
reproach and my German is pretty good, too!« He has now
become the person that »Tekkno Polo« reacted against with its
»hyper-patriotic« approach. Germany is now the sacred land
and on album track »Oryginalne Adidasy« he invites his fellow
Poles to come and visit him, he who »grew up between The Wall
and Moschino«, in Berlin and have Polish dumplings (pierogi),
made by Gucci at KaDeWe. »Endlessly bragging / Style without
class / Deutsche Mark / Oryginalne Adidasy« - this is Doktor
Dres' slogan and the read threat for Jemek Jemowit's new
album.

Ever since the debut, 'Communication EP' which also marked our 50th release, Alexander Lay-Far has a special place in the Local Talk family.Since then things have been going well with plenty more releases, tours, the launch of his label In-Beat-Ween Music plus a new full length album done.
With so many things on the go we're of course very happy to welcome Lay-Far back and with him this time, two UK house legends that need little introduction, Ashley Beedle and Darren Morris. Together the trio produced an EP that embraces the charms of both disco and house and we think it hits on every level. The A-side is dedicated to 'Doctor Feelgood', which is just as the name suggests, a delicious disco house cut that will make you feel good.Extra bonus points for the wonky bassline.
On the flip, you'll find two versions of Slope. The first one is an easy / breezy number built around jazzy drums, warm chords to catch your breath for a minute or two, lovers of rhodes should lend the track an extra ear, it's pure bliss. After those 5 minutes and 14 seconds has ended Lay-Far steps into the remix arena, turns up the tempo and sends the track straight to the dance floor. No need to fiddle around too much, he just sprinkles some extra touches of Lay-Far magic to the original and voila, it's done.

Mars Assault big re-edit & repress of some bloody good tunes from mars Assult 01 and Mars Pictures. All tunes 2015 re-edited and mre-mastered, with a nowaday louder cut. A Must Have for old shool Techno Tribe lovers !

After impressing with his debut album, 'Buy The Ticket, Take the Ride', on Tsuba last year, Magic Feet label boss Craig Bratley is back with a hot new EP on his own label that features tracks by Unisexl Audio Club, Beato Cozzi and the man himself.

Since 2014's LP release, Bratley has been remixed to great effect by Ewan Pearson and has continued to take his machine made, darkened disco sounds to clubs and festivals around Europe.

His sound is robust and analogue, has come out on labels like Andrew Weatherall's Bird Scarer and Is It Balearic and now for the first time arrives on his own Magic Feet, a label that has showcased sounds by Timothy J Fairplay, Antoni Maiovvi and Tommy Awards amongst others.

Up first here is Unisex Audio Club with 'Event Duality,' an elastic, low swinging, mid tempo track with frazzled synth lines, pixelated melodies and lots of dark energy. Flabby bass adds serious weight to this most arresting affair.

Beato Cozzi offers up 'Killer ', which comes on like a long forgotten Italo B-side, a chugging rework of a solitary 1990 chart hit that sounds all the more resplendent for its rainy alien melodies, extra visible and twinkling chords and invitingly laboured drums.

Then comes Bratley with the first of two cuts. 'Photons' is seven minutes of loose and lush house music with arcing pads, feel good chords and emotionally swollen melodies. It's the sort of breezy, al fresco tune that would sound great at a boat party and shows a more tender, vulnerable side to Bratley's work.

His second, 'Analogue Voodoo', is a slow and sparse affair where futuristic synth lines, apocalyptic drums and darkened spoken word snippets all conjure an unsettling, industrial mood. It's a fresh sounding cut that is destined to stand out on any dancefloor.

This is another fine offering from Magic Feet that offers disco lovers of all shapes and sizes something to explore and enjoy.

4th studio album by their very own Dapayk Solo. Titled - #nofilter the album will be out on Oct 12, 2015. Since 1996 producer Niklas Worgt is regarded as one of the most creative and versatile protagonists of Europes club scene. Several projects for his label Mo's Ferry Prod., like the - I LOVE VINYL - Festival or the work on new Dapayk & Padberg releases have kept him busy during the last 5 years. But finally he came around to spend some - solo time in the studio. After having turned to a more melodic and gentle side on his last two album releases as part of the german electronica duo Dapayk & Padberg, - Smoke (2013) and - Smoke- The Family remixes (2014), Worgt is now being much more experimental and edgy in his productions. - I wanted the sound to be very focused - he says about his vision for album #4. More straightforward, more reduced, more analog and dirtier than - anything i have done before . On - #nofilter he combines elements from his early days in breakbeat and drum'n'bass with minimal and techhouse to his very own and very unique signature sound - far off the beaten club sound track. Worgt aims to challenge his audience, willing them to see that there is more than just one way of doing things. Well aware of the fact that: - ..some of the tracks might not be for everyone at first glance. But it's always good to do things in an unexpected way, to change the listeners perspective. Niklas Worgt also proofs his provocative and humorous side with the album title - #nofilter , statistically prooven to be one of the most commonly used hashtags. A keyword, often headlining the fact that a filter has been used.

Where Are You Now is the fourth proper album from Italian widescreen dancegaze trio port-royal.

Limited Edition Clear and Cyan Vinyl w/ Download Card

It's been nearly six years since their previous full length Dying in Time (n5MD) and not counting compilation appearances, remix and rarities anthology 2011s 2000-2010: The Golden Age Of Consumerism (n5MD) and the Diamat album that port-royal architect Attilio Bruzzone orchestrated in 2013 port-royal has appeared somehow eerily silent. We now know that they've been very hard at work.

The old adage that good things come to those who wait has never been more true. Where Are You Now spans the six year gap effortlessly with the band's familiar and reoccurring themes ever looming while adding newer complimentary components to their soaring tapestries. Such elements are present in the pop shimmer of tracks like "Death of a Manifesto" and "Alma M." to the more muscular almost industrialized beat mangling included in select sections of "Karl Marx Song" and "Theodor W. Adorno".

To those that may be worried at such additions, they, in port-royal's hands, are now inseparable components with the band's already signature blend of post- rock, dream-pop and dance music.

Don't be mislead from the name, the enigmatic M. Zalla, is one of the numerous alter ego of the italian maestro Piero Umiliani. Umiliani, during his period of fascination for psychedelic and electronic atmospheres, starts to compose a good number of musical portraits dedicated, as the title reveals, to the problems of his time. We are at the beginning of '70 and italians are worried by mafia, terrorism and social conflicts: so it has sense that the music choosen to represent this anxious problems has a sperimental nature, dark and disturbing a sort of unicum in the long and extremly productive Umiliani career.And if, in 2015, titles as Mondo in Crisi', Problemi Sociali', Azione Sindacale' and Mafia Oggi' sounds still sadly actual, it's even more surprising find that the music of Problemi d'Oggi' (Today Problems) is projected on the future, sounding still alien and uniques.
The record presents various styles: from Pink Floyd atmospheres (or Braen's Machine if you prefer...) to compositions characterized by a great use of drum machines and synthetizer (MOOG and Sinthy). We just have to listen the begginning of the opening track Produzione' to give sense to the words of Sean Canty (Demdike Stare) that defines the music the first techno/trance track of the history, but between the grooves of this vinyl it's easy to find intuitions that many other artist and musicians - from Residents to Aphex Twin and Four Tet - will be able to catch during their carrers.

Superb mental tribe digger... Molecule Prod did just a superb openner, just like Axelbud Vs FKS did on the start of the B-side, with a little Trance VS Tribe effect. Last track, by Puch-K is a classic acidcore style, boosted by a dry unconfortable kick and woufa effects in the veine of JMF. A good melt... A2 from Smeo is a bit different with a more hardcore, or hangar ambiance reminding the Things To Come... in a Tribe way maybe:) Specially with those vocals in the tunes... A very good record !

Tensnake's standard In The End (I Want You To Cry) release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert's & Dicky Trisco's respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!

This new series on Expansion explores classic and exceptional 70s and 80s 'modern soul room' tracks making them available on 7' single for the very first time.

The Moments were a prolific sweet soul group in the 70s, signed up by Stang Records and regularly in the charts. They comprised vocalists who would later become Ray, Goodman & Brown. As The Moments their first US R&B No.1 was Love On A Two-Way Street' in 1970 and in the UK were best known for Nine Times', Dolly My Love' and Girls'. When they changed labels, a handful of songs were left unissued including the incredible Sleep Won't Come', first released as a CD bonus tracks on a 2CD Moments anthology Moments To Remember'. Interest in the songs has become high since that time resulting in an inevitable debut release on vinyl here on Expansion.

The B side is one of the group's most underrated gems.

"...don't ask if there will ever be a Volume 2. We don't know yet. What we do know is that if we ever come across a similar tour de force as Don McCaslin's composition, Praise Poems, then there will certainly be one..." These were the final words of the sales notes for Praise Poems Volume 1 - which we proudly released earlier this year. And indeed, since then, we have discovered a tune which led us to continue to curate this series of obscure, soulful, jazzy and spiritual sounds from back in the day. The song to which we refer to is Abraham Battat's jazz-samba masterpiece, Fly Away. Fly Away is a righteous combination of sonorous jazz guitar, crackling drums and warm acoustic piano. Floating through the tones as if in a private concert for you in your very living room, it is an earnest, honest vocal performance bringing a rainbow message of freedom and liberty to the world. This is the standard by which we judged the entirety of this compilation. Though they may be known in some circles, selections by Richard Martian, Larry Covin, and The Gingerbread Express are in the same category of pure beauty. Of course, good luck finding a copy of Larry Covin's Masquerade or the Portis Brothers' Summer Love. The single hit you receive while doing an online search is the exact same copy from which we took the master. To find a needle in a haystack is a cakewalk compared to turning up a copy of some of these gems to be found here.

Drum Island unveil their tenth release with an extraordinary EP from Norway's Klaus Lunde.

From Norway's oldest city Tonsberg comes the stargazing sounds of Klaus Lunde: an acclaimed and prolific electronic music composer, his array of releases under the Xerxes Music pseudonym explore a unique take on ambience and tonal electronica that's a mesmerising and accomplished body of work to be sure.

This, undoubtedly many people's first introduction to his work, is a perfectly pitched collection that highlights the familiar themes of the Xerxes work, but fits easily into the Drum Island blueprint of music for the midnight sun. On the Exerxes EP, we're treated to pulsating Balearic trance and zero gravity house before gliding into relaxed ambience, soothing New Age and horizontal night music.
We then dive further into the psychedelic ocean hidden below with truly tripped out Kosmiche vignettes of warping and spine-tingling odd-pop.
Guest vocals from fellow viking Marthe Borge-Lunde Pfirrmann (aka Phoenix) making this is a cinematic tour de force!
Limited Edition import vinyl - full picture sleeve - one press only.

Following up his debut album 'Emergence', Prague based producer, beatmaker and all round good guy Hybris is back on Noisia's Invisible imprint.

A perfect foil of Hybris' trademark quirkiness vs dancefloor this delivers on every level.

Until December last year music was simply a hobby for Alex Crossan, aka Mura Masa. He may have had 7 million plays and 30,000 followers on Soundcloud but the 18 year old Channel Islander had never played his music live, DJ'd or even been to a gig himself. He had just started an English degree at Sussex University and was happy playing guitar and bass in function bands.
It was an email from Jakarta Records that changed everything. The Cologne-based label (previously home to Kaytranada, Iamnobodi and Sango) felt Mura Masa's mixtape 'Soundtrack To A Death' was too good to sit on Soundcloud and persuaded him to release it with them.
The following 3 months were a whirlwind, with 30 spins on Radio 1, a sold out debut show & a top 5 position on the itunes electronic chart in the UK and US. At one point Mura Masa had 4 tracks in the HypeMachine top 50 and remix requests from Ed Sheeran, Ellie Goulding, RL Grime and iLoveMakonnen in his inbox, whilst still juggling his degree.
So as Mura Masa prepares for his first official EP release the stakes are very different and he has upped his game accordingly. As well as the sampling for which he known, Mura Masa plays live piano, guitar, drums and even sings on Someday Somewhere. He is keen to show that he is a musician and songwriter as well as a beat-maker and has called on new friends Nao, Denai Moore and Jay Prince to feature on tracks.
Paul Epworth (Producer for Bloc Party, Adele, Santogold): 'That 18 year old is taking over the world right now and he's just delivering the most deeply textured music around, we have got such a talent on our hands in the form of Mura Masa and i think the UK has finally got our very own Kaytranada and it's not beyond him to overtake that, so good, ridiculous....

After releases for Discos Capablanca and Moon Glyth, Food Pyramid join Especial for a remix EP of their album-only track Oh Mercy. Updated by the inhouse team Apophenia, before being given the full italo treatment by SF's Inhalt and a true Especial twisted FX double mix by the man, the myth, Jamie Paton.

Minneapolis collective, Food Pyramid are welcomed to the label with the twisted psychedelic electronics of Oh Mercy. Taken from their Mango Sunrise album of 2012, its warped breakbeat jam-fusion has long been a secret favourite of the label, so it seemed right to present it on a unique EP.

Starting with a 2015 rework at the hands of the label's in-house production team of Apophenia, the original is extended with respect, keeping much and taking out little (the horns) so that the originals groove can ride and ride.

This is followed by a superb remix from Inhalt. After themselves appearing in the form a remix EP (EES009) it seemed now was the right time to get on board with their own take and in the process creating a pumping Italoesque classic. In the same way Timmy Regisford turned NOIA's Rules To Survive in to a mid-80s Chicago all time top 10, this remix harks to all that was good of that time, notably replaying much of the
instrumentation, while keeping it aimed squarely at today's floor. Who said Razormaid

On the flip are killer remixes from the label's main man Jamie Paton. Locked in an increasingly modular headspace, he digs deep and expansive. Premiered on the recent Beats In Space showcase, the Remix kicks far and wide, pushing club systems to the max, this yearns to be played at 7am Panorama. Sliding straight (and you'll miss it) in to the Dub, stripping it wayyy back, let the drums do the talking. Oh baby, have mercy on me.

Bunny Lee's Flying Cymbals or flyers rhythms dominated the Dancehalls and the charts during 1974 and 1975.The style based around the Philadelphia disco or the Philly Bump ,the sound of an open and closed hi-hat was not necessarily novel but Striker's innovations of bringing a number of different elements into play most certainly was.
Johnny Clarke's interpretation of Earl Zero's 'None Shall Escape the Judgement' not only opens this se but also opened the floodgates for the flyers style.
The story had begun the previous year with Lowell'Sly'Dunbar.
'Sly played the flying cymbals first'....I said to Sly' You played it on the Delroy Wilson tune for Channel One named 'It's a Shame' AND Sly played it before that was with Skin, Flesh & Bones on 'Here I am Baby Come and Take Me' the Al Green tune, when Al Brown sung it for Dickie Wong with the 'tsk,tsk,tsk' sound on the hi-hat,I named it flyers but they didn't know what flyers was!!!'..Bunny Striker Lee
Before too long 'Every tune we put out we put the rhythm behind it' and every Kingston producer followed suit with their own variation of Striker's Flying Cymbals Rhythms...........

Collecting Eddie Ruscha's cassette recordings over two compilation albums has been one of the highlights of the
label, so it seemed right to hand over the choice tracks to a set of his contemporaries from the City of Angels.First up is rising star Suzanne Kraft. The alias of Diego Herrara, very much a young man to watch. With releases for Running Back, Young Adults and Noise In My Head, as well as possibly EP of the year already as Dude Energy, while holding down being a member of The Pharoahs (ESP Institute / Not Not Fun) and not forgetting, one half of Blase with Mr Ruscha himself, he's a busy man so getting this remix took some effort! However, it was all worth
it, as Diego takes the crazy afro-stylings of Afrobotics and pulls it towards the danceflor, adding percussion and sirens, forging the originals vibes in to a ethno-beat club jam that is all about that heads down moment. Next up is the quirksum individuality of The Samps. The project of one of LAs fiest, but hidden musicians,
Cole M.G.N. Working with Nite Jewel, Ariel Pink and Puro Instinct is cool enough, but his solo Samps project is another level, with a mind-altering exploration of funk warped electronics. Sure enough then, his take on Shockers is just that, a mash of beats, bass and sample cut ups. This is pyschedelic dance music for the mind.
Flipping things completely is LA's Mr Funk himself, Tom Noble. Taking the laid back grooves of Underdogs, Tom does his trademark good time, party vibes with a killer boogie style remix. Letting the groove do the work, keys and a good deal of wiggle just led it all ride home. Finally then is something Emotional Response is all about, highlighting producers the label is fans of, but letting them explore alternate spheres. While Cameron Stallones' Sun Araw project has become one of the names in
modern psychedelic experimentation, little is known of the alter-ego Aristrocrat P. Child. With just one cassette of warped disco edits to his name, here he closes the EP with exactly that, a re-edit of cut up irreverance, twisted and looped to distraction - an ethereal experimental and modern musical genius...just like Mr
Ruscha.

For his first release on Common Dreams, Reedale Rise (Simon Keat) brings us two thoughtful tracks, both well-layered and very well produced. The A side "Pressure Box" is the more funkier, 'deep house' leaning tune, giving us juicy chords, a starry pad, and some very nice atmospheres in between. All the while, drums are pushing you forward, and in some parts just reach out and slap you in the face. The B side "Azikiwe" fuses sporadic arpeggiations with some very thoughtful chord melodies. Maybe it could be described as having a more psychedelic twist. But just when you get too far out, you're brought right back to the rhythm tracks wich are nothing short of solid, making for a good all around dance track.

BACK IN STOCK NOW!! "Volume One is the debut album. It was the only album recorded with original guitarist Justin Marler, before he became an Orthodox monk. Volume One showcases a darker sound and stronger doom metal influence than Sleep's later work. The image featured on the cover is taken from the Salvador Dali painting "Soft Self-Portrait with Fried Bacon".
Their only album as a four piece of Al Cisneros, Matt Pike, Justin Marler and Chris Haikus

LP repressed for first time in many years.

allmusic
"For all their budding, precocious talent, Sleep's 1991 debut, Volume One, quickly betrays their still quite heavy debt to doom metal forefathers like Black Sabbath, Witchfinder, and Saint Vitus. Driven by Matt Pike and Justin Marler's lumbering mass of low-tuned guitar riffs, Al Cisneros' (still going as Luke here) serpentine bass and ragged screams, and drummer Chris Haikus' cyclopean kit pummeling, occasional highlights such as "The Suffering," "Nebuchadnezzar's Dream," and "The Wall of Yawn" prove less memorable than they are sensorially overwhelming. And yet, ironically, Sleep's rhythm guitars would never again be kept as under control, nor would their leads sound quite as refined as they do here (see the cleaner harmonies employed to good use on "Numb" and "Catatonic," for example). This was probably due to the onetime involvement of the significantly less stoned Marler, who would soon exchange the group for a monastery where he would study to become a monk. Fittingly enough, however, losing the versatility of a second guitarist was exactly what Sleep needed to focus their singular power into a crushing force, and the remaining trio would flourish immediately behind the sheer physicality of Pike's six-string style, as proven by 1993's superlative sophomore LP, Sleep's Holy Mountain."

The second part in the Hudd Traxx 10th Anniversary 'Now & Then' compilation sees tracks from Luna City Express, Sek, Iz & Diz and Rick Wade. Berlin duo Luna City Express serve up a lush deep house groove that builds throughout the track, and will bring a smile to the faces of those who follow them on their beloved Moon Habour Recordings. Sek uses slick beats, trippy leads, a driving bassline and some 'Thug life' vocals to ensure this one has 'future classic' written all over it. Go back in time (to 2006 to be precise) on the 'Then' side to find Iz & Diz's 'Happy'. The words 'epic' & 'journey' are often misused in music but both can be mentioned about this track. It had devastating effect on first release and is set to do the same again nearly 10 years later. Rick Wade closes things out in fine style to fly the Detroit flag on an all Chicago / Detroit side.

Building on her first LP April Song Sara Mitra draws folk blues and psychadelic influences into her second LP. Recorded and produced by Ben lamdin / Nostalgia 77. The LP was previewed by Gilles Peterson on BBC 6 Music & Sara conducted an interview feature with Jamie Cullum on BBC Radio 2
Press quotes include the following:
Her skill as a songwriter and honesty as a performer shine through" Mercury Prize Recommends
Especially talented" The Daily Telegraph
Fresh sounding and free from cliche..., Sara is left to her own special devices and nails a good melody everytime." Blues and Soul Magazine
Mitra has a really fresh-sounding voice: a great night" The Sunday Times
I love her voice, I love her Englishness." Gilles Peterson

Hailing from Berlin, but spiritually from Chi-town, Snuff Crew are back in your area with some freshly served up basement goodies once again. Following on from Basement Jams #1, from all the way back in 2011, the boys bring us tracks with the same playful nature as before but, dare I say it, they go even harder this time. Stalwart fans of the first release can stop reading now because it will almost certainly be a blind-buy for you; four tracks obviously engineered for use in the club, whether its the massive kick in 'What It Is' or the ravey acid lead in '88cents'. The jams on the B-side may do the most damage. 'Remember' holds absolutely nothing back, with its arpeggiated bassline lead and crisper than crisp 909 drum programming. Analog is a term that gets bandied about all the time nowadays, ever since so many young producers became enamoured with tape compression and hiss delay plug-ins. I know Snuff Crew are real analog guys though, in sound and mentality, so hearing Basement Jams #2 for the first time had me so excited once again.

One year has passed since the last release in this series and, as always, the Tramp Records crew have been working hard during the last 12 months to come up with an equally fine selection of tunes for this brand new volume. Our aim is to keep up with the quality of each release, a task which certainly does not get any easier as we step forward into the twenty first century.

There is no need to praise this selection of tracks. It is larger-than-life. And those who do not recognize the distinctiveness of it should better seek medical advice. The most astounding fact is certainly that 99% of the record buying public have never heard any of these tunes, most likely not even the artists. And we are not talking of people who solely listen to mainstream music. No. Even music lovers who believe that they have a good portion of knowledge when it comes to jazz and soul music will be left speechless.

You can skip to any song on this album and you won't be disappointed. The only premise is that you are a fan of raw, earthy soul and jazz music. If this is the case then you can't go wrong. Rene Bailey, Matilda Haywood, Lee Mitchell, Nu Art Quartet, to name a few. It is high time to introduce all these names to a broad audience and to prevent that they vanish into thin air. The Movements series was coined to introduce music lovers to so far unheard musical treasures. Tunes which only hardcore record collectors have had the privilege to enjoy it...until now.

Following their debut EP for Going Good we have here a rare glimpse of a live action performed by Aquarian Foundation at an unknown location. Existing solely on a discarded cassette tape until now, the "Mind Miniatures" LP finally gets a full limited vinyl (& cassette) release.

This record is designed to get lost in. A departure from the dance-floor. An exercise in deeper listening. Just under one hour of dusted ambient electronic meanderings broadcast live from the depths of the Canadian riviera.

"Mind Miniatures" will be available from all good record stores worldwide early Feb 2015.

I am very happy and excited to present the new EP by 'Claudia Anderson' on Singular Rec., it's her second release on the label and it's a real pleasure.
She cooked a really varied record once again, 'Liquid Forms' takes place on A1 and it's real voodoo here, the effect of this track is very unique, it's space and deep, surrounded by many little effects that give such a special result, then comes 'Neutral State', a timeless dub & house feeling, very loopy, that reminded me some STL cuts.
'Be One' opens the B... I ve been really sensible to its very sexy percussion's play and delayed lead, it transports literally during all the length, it's very high quality.
To end properly this ep, Claudia did a superb ambient cut, everybody knows I love ambient and so here I ve been charmed... it's a deep, noisy atmospheric track that close the all perfectly, with simple little percussions that come and go, just what it takes...
It's a confirmation of all the good I thought about Claudia's talent, a very subtle, deep and charming record, and I hope you will like it as much as I do!
Marcelus.

Speedy Ortiz is proud to announce their sophomore album, Foil Deer, which will be released via Carpark Records on April 20th.

'Major Arcana' released in 2013 won them glowing reviews , features and several UK tours (highlights below):

- 4 PAGE NME FEATURE

- 9/10 LEAD REVIEW IN NME: 'One of the reasons 'Major Arcana' works so well is because it's addictive and fun. The guitars and bass sound incredible, like the last Deerhunter album without the Yankee Doodle Dandy'

8/10 Drowned In Sound : ' Speedy Ortiz are way too euphoric and glorious to suffer for their artfulness. Stripping away the frills, at heart Major Arcana is a mournful treasure that asks to be celebrated.'

*NME RADAR FEATURE: 'What's miraculous, though, is that Major Arcana doesn't sound at all self-pitying; it's torrid Slint-meets-Pavement rattle bolsters Sadie's relished words so that yelling along is an exercise in gleefully exorcising your own demons'

8.4 ON PITCHFORK: : 'There's the squalling, guitar-on-guitar carnage of Archers of Loaf, the grungy mysticism of Helium (Dupuis lifted the title Major Arcana from a book she was reading on black magic), and of course the deadpan wit of vintage Liz Phair ('I was never the witch that you made me to be,' Dupuis tells a burnt-out old flame on 'Plough', 'Still you picked a virgin over me').

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
Deluxe LP Is as above but with metallic gold coloured vinyl, and sticker.(200 ONLY FOR UK)
CD comes in digipak with a folded poster approximating the chapbook in the LP.

Speedy Ortiz said they would get the flowers themselves. What a lark! What a plunge!

When considering Massachusetts' Speedy Ortiz, that line from Virginia Woolf comes to mind. Not only for the obvious echoes to DIY, a form and function that's characterized the band's nascency, but in the proto-feminist undertones driving much of their sophomore album, Foil Deer. "I'm not bossy, I'm the boss," Sadie Dupuis sings on "Raising the Skate," invoking in spirit one half of the Carter-Knowles clan and echoing the other's wordplay. And wordplay makes sense, considering Dupuis-the band's songwriter, guitarist, and frontwoman-spent the band's first few years teaching writing at UMass Amherst. She's drawn to the dense complexity of Pynchon, the dreamlike geometry of Bolaño, the confounded yearning of Plath-all attributes you could easily apply to the band's 2013 debut Major Arcana, which fans and press alike have invested with a sense of purpose and merit uncommon in contemporary guitar rock.

The group, including Mike Falcone on drums, Darl Ferm on bass, and new addition Devin McKnight of Grass is Green on guitar, have spent the last year on an almost endless cross-continental touring jag, tagging along with the likes of The Breeders, Stephen Malkmus & the Jicks, and Thurston Moore. That shift into full-time musicianship brought with it an attendant reordering of priorities when it came to songwriting, and the band members' lives in general. They would get the damn flowers themselves.

Dupuis wrote much of Foil Deer at her mother's home in the Connecticut woods, where the songwriter imposed a self-regulated exile and physical cleansing of sorts, finding that many of the songs came to her while running or swimming alone. "I gave up wasting mental energy on people who didn't have my back," she says. "Listening to our old records, I get the sense I was putting myself in horrible situations just to write sad songs. This music isn't coming from a dark place, and without slipping into self-empowerment jargon, it feels stronger." Many of the songs deal with a similar sense of starting over, editing out the unnecessary drama. "Boys be sensitive and girls be, be aggressive," she sings on "Mister Difficult."

And while their debut album was recorded on the fly, Speedy Ortiz spent almost a month in the studio on Foil Deer. Falcone's drums are taut, mechanistic; Ferm's bass ranges from the aggressive rattle of an AmRep classic to smoother, hip-hop inspired lines. McKnight, meanwhile, lends spacier, textural riffs to complement Dupuis' wiry, melody-driven guitar style. "The demos for our songs have always had tons of small details and production experimentation, but we never had any money to pay for more than a couple days in the studio, so the songs came out very live-sounding and guitar heavy," Dupuis says. It was recorded and mixed at Brooklyn's Rare Book Room with Nicolas Vernhes (Silver Jews, Enon, Deerhunter), with the record mastered by Emily Lazar (Sia, Haim, Beauty Pill), lending a more polished sound and a pop sensibility that will stand out to existing fans and new converts alike. For all the lyrical complexity and guitar-based excursions Speedy Ortiz have built their reputation on to this point, Foil Deer has a sense of light-footed fun. What's the point of doing things yourself if you're not going to enjoy the trip

Standard LP is gatefold, single black LP with chapbook, plus digital download card.
CD comes in digipak with a folded poster approximating the chapbook in the LP.

FINA Records presents 'Tyranny of Fun', the debut EP from Slow Learner. The coining of the new alias 'Slow Learner', marks a new chapter and musical direction for an already established artist who is by no means new to the game. Preferring to start afresh and steer clear from associations, the somewhat reclusive figure from the South Coast is now focused instead on allowing his new output to speak solely for itself. And his debut release under his new pseudonym achieves just that. 'Tyranny of Fun' is an accomplished sonic offering that reveals a versatile sound characterized by original combinations of samples, depth and range. The EPs opener, 'The Skin Horse' is surely one for the after afters - a dark and off kilter growler of a track whose prevailing bassline and waltz time beat provide a brooding backdrop and relentless rolling nod to its intricate fusion of dissident chords, dusty synths and jazz stabs. On the flip side, an unpredictable 'Cupboard Love' starts muted and deep but soon surprises, opening out into a warm and progressive feel-good groove. Mixing things up again, Slow Learner impulsively cuts up the flow 4 minutes in with a funk-filled refrain, leaving the track dancing in and around dirtier disco territories. Last up, a made for vinyl 'Honey' goes deeper still; a delectably crafted down tempo offering whose syrupy vocals stir and evocative cross-rhythm synths, coupled with the vintage analogue percussion, ooze an unmistakable old 90's deep house sound.

hile it may seem as though it's been a quiet year in the studio for Brooklyn-based DJ/Producer Greg Schappert (aka Donor), his first full-length album entitled Against All on Chicago-based Prosthetic Pressings, will prove otherwise.

This 10-track release is a tour de force of formidable intensity and suspense and Donor wastes no time creating an ethereal realm right from the start. By taking a deep dive into a dystopian world full of distant transmission like voices, expressed through field recordings taken in and around New York City, Donor successfully paints a picture of what could be his unsettling vision of the future. While it may be difficult to explain how this album progresses throughout, there is something below the surface tying everything together, leaving us with a feeling of despair in that the world does not end how it is likely to be perceived through this beautiful or haunting, yet sophisticated, soundtrack. Alien invasions, civil war, post apocalyptic mayhem, call it what you will, Donor sets the stage for an unsettling vision of the not so distant future that can be heard in his thought provoking debut LP.

Donor's time spent overseas living in countries like Spain and Japan, his love for Birmingham Industrial Techno and early Dutch and Detroit Electro, combined with his upbringing on John Carpenter films, have all contributed to Donor creating his unique, yet recognizable sound.
Feedback:
Audio Injection / Droid Recordings
Yeah my boy Greg getting down! Great album!!
Leonard Posso / Thema
Hands down one of the best bodies of work to date from Greg aka Donor! SOLID PACKAGE! Many of these will get played throughout the night! Big Ups Donor and PP!
Vidal / Droid Recordings
nice sounds
Ergin Karabulut / FAZE Magazin
ok
DJ Nori / Posivision
cool dark essence.
Paul Clarke / Dj Mag
Not exactly heartwarming but lots of good stuff if you like it bleak.....
Mark EG / Core Magazine, Tilllate Magazine
IP Test
Nerk / V-Records / De:Bug
dark & minimal (in a good way)
Exberliner
!
Frank Hilpert / Freshguide (5x Regional A5 Mag) , Freshguide BLN, Freshguide MDL, erwischt.org/
Big - Review to follow.
Berlin Mitte Institut / Berlin Mitte Institut
More IDM than techno. Some interesting tracks on this album.
David Marcia / Phuturelabs, Phuturelabs
Good stuff. Considering for review and radio play.
Bleed / De:Bug
considering for review
Benoît Carretier / Tsugi
solid one tx
Pawel Gzyl / Nowamuzyk
killer1
Laurent Diouf / MCD magazine / WTM radio show
another wtm's playlist is coming soon...;)
Alland Byallo / Nightlight Music, Bad Animal, Pokerflat
Fantastic album. Deep, dark, nasty. Pure mood (and some seriously heavy BOOM).
Solomun
Hello, i am downloading and pre checking all promos for Solomun. I will give you a personal feedback if he plays and supports this release. Thanks a lot and have a great day.
Solenoid / Graphene / Belief System
wikked album of deep ritualistic techno ...
Electric Indigo
cool tracks here. station a14, ip test and own exile are my favorites after first listen. thank you!
Corin Arnold / BLN FM
sounding good, support!
RADIO CAMPUS BESANCON / THE VINYL GUERILLA
not really for me ... DJ Gaogao
Riyaz Khan / Diversions on chry105.5fm
like the shifting tensions and brooding atmospheres throughout!
Fabian Birke / WOMR College Radio / BLN.FM
For radio play, thanks
Andrew Grant (Circo Loco)
Own Excile is very good
Slam / Soma Records
cool album thanx
Sebastian Roya (Connaisseur)
Bomb! nice job!
Matthias Springer / Diametral / Chillkyway
great release, brainsqueezing!
DJ Hyperactive
good tune on here man
Patrick Bateman (Tic Tac Toe / Connect Four)
Hands On, Calling, Menace Is Mine & In Your Place are the ones for me. As always full quality from Donor!
Jonas Kopp / Curle, Deeply Rooted House
Will check properly , thanks.
HalfStereo
Dark moods is what i like...
Angel Molina ( Sonar / Tresor )
LOVE this dark & hypnotic release. Tracks like 'Menace Is Mine', 'Station A14', 'Counter' or 'Fault Is Found' are absolutely fantastic. thanks!!!
Scuba (Hotflush)
thanks. downloading for scuba!
Bryan Zentz / Minus / Thoughtless / Portlandia
I am miserably late on this—but really like it on quick listen. In Your Place and Us For Them are awesome. Looking forward to listening all the way through. Thanks!
Pär Grindvik / Little White Earbuds
thanks
Dr Hoffmann / Blind Spot
Great release, digging most of the tunes. thanks
Philip Downey / Swoon / pastlessonfuturetheories blog
Like Calling, IP Test, Us for Thenm, Fault, could try some on radio.
Tim Thaler / Bln.fm
downloading
Lukasz (Nermal) Napora / Audioriver Festival, Radio 4 Poland
great stuff. eager to listen to it from wavs
Vito Camaretta / Chain D.L.K
Interesting sonorities
Noah Pred / Thoughtless Music
Stark business worthy of a deeper listen.
2000 And One (100% Pure, Intacto) / 100% Pure
Oh yes perfect intermezzo stuff :)
Alexi Delano / AD ltd, Plus 8
Will have a proper listen.
Echologist (Steadfast) / Third Ear, Echocord
really liking this. fresh beats and trippy hypnotic vibes. look forward to spending time with this.
john1 / Bedrock
downloading
James Zabiela / Renaissance
In Your Place is nice in a bleak way.
Marcel Dettmann / MDR, Ostgut Ton
thx
Richie Hawtin / Minus, Richie Hawtin
downloaded for r hawtin
The Advent / Tresor
fantastic.. pure techno here.. Donor - Station A14 Donor - IP Test
Andrew Weatherhall / Rotters Golf Club
Downloading obo Andrew Weatherall
Noice Podcast Series
very nice Techno...
Samuli Kemppi / Prologue
Great album. Donor in top shape. Full support!
Lee Holman
Good album of deep dark sounds. Especially like Station A14. Thank you!
Benna Schneider / Harry Klein
some nice tunes here ,that I´ll play out surely
Douglas Fugazi / Medellinstyle
Yeah! Sounds really good. Thanks!
Plastic Lounge @ Freies Radio Freudenstadt
good tecno,playing
Kyle Geiger / Drumcode
Really like Space Station!
Paul Ritch
thx a lot for the promo
Dave Angel / Apollo, Rotation Records, Polydor/Love, OuterRythum, React Records, Island
Thanks! Will let you know if supporting.
Luciano Esse / Safari Electronique, Out-Er, Leftroom, Material Series
Great sounds, but I couldn't use them in set! Thanks anyway!
Arnaud Le Texier / Affin, Bass Culture, Cocoon, Children Of Tomorrow, Syncrophone.
Some inspiring tracks on this album! Thx
Henning Lösch / Radio Dreyeckland Freiburg
last exit Brooklyn...:-)
Roko (Sub.fm/B.O.M.B.)
OH shit this is good!!
Sigha / Immerse / Hotflush / Avian
loving this, many thanks
Jerzy Przezdziecki / Recognition Records, Boshke Beats Records
raw and mental. i like.
Alex Tolstey / Triangle Eyes/Boshke Beats Records
ho ho! review to follow
Alan Fitzpatrick
epic! love this.!

Number three in Prins Thomas Rett if Fletta excursion welcomes our good friends from Full Pupp Trulz&Robin with Change, a 10 minute deep techno buildup piece in a somewhat classic, almost trentemolleresque, soundscape + tradition. Minimalistic but huge in a motoric wall of sound style long not heard. Large! Dunjon sets the counterpoint on B, bassdridden, sparse, bubbling sturdy grooving techno Is Dub comes back to the richer atmosphere of Change for another hallcinating deep and dubby piece. Written&produced by Trulz&Robin (Truls Kvam,Robin Crafoord).

Oh yeah, we love those tunes, we love the idea of this west (Mexico) to east (Lithuania) studio exchange, we love the jam style, we love the instant 'let's record it and put it on wax' feel! So we don't want to blow this up. No big PR stories, just good music made by Ponty Mython (Dirt Crew, Swedish Brandy, Eat More House) and Sebastien Vorhaus (Quintessentials, Faces Records, Vicario Musique). Buy it, play it, feel it! Thanks!

An efficient good Tribe hardtechno killaz. Nice one. (no represses since 2003) !

This EP was made during a period where my whole outlook on everything was transforming. The Voidloss project started as an investigation, I was conducting a lot of research and study on the mind, the occult, on different thought modes, and the Voidloss project represented this. The idea was about a leap in to the void. A leap of abandonment into the dark, with total acceptance, total commitment. The idea was to lose myself to the void. This was mainly a spiritual journey for me, and could be best explained by 3 things, the void of Miyamoto Musashi from Go Rin No Sho, The concept of the Tao from the writings of Lao Tzu, and the concept of the abyss from the works of Aleister Crowley. Part of this journey deep inside the self was frightening and horrific, the total loss of self, of all identity and ego, and part of it was beautiful and enlightening. I wanted the music to reflect this, and I wanted the music to change as I changed, as I went to and through all these interesting places. In essence this was about freedom. So fast forward some years and I felt I had sharpened my mind quite effectively, the music had twisted and changed and flowed with me. At the point I began making the music for this EP, I had grown quite angry with the amount of conformity I was perceiving in life. Politically, socially, musically, there was this drive of conformity in the world. I think part of it, and only a part, comes from the prevalence of social media, the need to belong and to be liked, the idea of judging yourself and your works through the perception of others. Musically I felt that within techno there was a tendency for the music to fit within a set of confines dictated by fashion and hype, and this was reducing the diversity of the music, it seemed also that the practices of commercial music were seeping in to techno as the music became more popular. Hype and business driven decisions, brand building and so on. I always felt techno was more about art, and I began to get frustrated. Equally I felt that politically there was less and less choice, as all decisions seemed to lead to the same outcomes. I became more interested in the concept of anarchism, of the idea that government was no longer needed. I have always in my life had a drive to question everything. I've always been 'naughty' and rebellious and done things my way, to my advantage or my disadvantage, I could never accept being anything other than myself all the way. If everyone walks in one direction, I will walk the other way, even if it takes me over the edge of a precipice, just to see what is there. All this stuff influences my music, and during the period of making this EP I was angry, kicking against the things I no longer liked or wanted, screaming dissent. There is a lot of anger and rage, and of course rebellion. I wanted the music to capture that unbridled fury you have when you are in your late teens, when you just start learning about yourself and you start rebelling and questioning things around the time the world is really pushing you to conform. I was soundtracking my own philosophical riot. Previous to this my Voidloss stuff had been more introverted, more pensive and melancholy, more self destructive, more cerebral. For this new music I wanted something more immediate but without being too obvious. In terms of the choices I made I still leaned more towards broken rhythms for beat structure. I find it very difficult to do anything interesting with 4x4 kicks any more, it's too rigid for me, it limits my freedom. I like the looseness you get from more 'drummer' like beats, I guess probably because I have been playing drums all my life. The challenge is to get the same rolling power from broken rhythms as you get from 4 to the floor. It's not easy, there is a ridiculous amount of trial and error and the rejection percentage is high. I also was trying to use less 'synthy' sounds. I wanted to try to take a more acousmatic approach to sound design. With the current modular synth revival in techno I was hearing a lot of 'old' synth sounds re-emerging, and this didn't seem like a progression to me. I wanted to make sounds that were hard to source for the listener, where they weren't sure if it was synth or real world sample, digital or analogue. This involved a lot of experimentation. My process involved a lot of field recording, especially with contact microphones, which open up a whole new world of interesting sounds. You are effectively recording sounds through objects in the environment, 'hearing' the world as these objects hear them, I was using guitars, feedback loops, handmade instruments as well. So I was combining this with different synthesis, granular synthesis, sample synthesis, physical modelling, FM synthesis and of course analogue. Everything was reprocessed and re-synthesised, I tried hard to obscure the source and make something new as much as possible. The stuff on this EP was part of my live PA for some time, so as I learned how the music worked live I could go back and make changes, sometimes the environment I was playing in transformed the sound as well, and so I would try to go back an incorporate this in to the music. For remixes I wanted to choose artists that I respected for their vision as well as for their output, so my list of people I wanted was extremely short. Inigo Kennedy has always been an artist I have respected greatly. His music has always been unique to himself, he remains outside of fashions and trends even though his name has become very big recently. He takes risks with his work, experimenting and exploring, yet remaining relevant to the club, and just tirelessly forging ahead, seemingly for the sake of art above all else. And he's just a really nice guy to deal with. His remix is everything I expected it to be in that it is the unexpected. Regis is another artist who forges his own path in music, you cant really even begin to discuss the avantgarde in techno without including his name, he is one of the foundation stones for artistry and the outsider mentality in techno. His music is always unique to his own vision, and along with it comes an interesting artistic philosophy taking in situationism, post punk and industrial ideology and a good dose of tricksterism ala PT Barnum, all of which comes out in his music and the way it is presented. The man is a truly singular force and it is an honour to have him on this record. Overall the concept here is that of rebellion and dissent. Of asking questions, following your own path, of maintaining some place in yourself that burns like a forest fire.

Whether or not I have succeeded I guess is down to the listener, I'm never happy with my music, I keep wanting to move forwards, or somewhere else, and am constantly trying and failing to capture some essence of perfection. But like Bukowski said
'It's the only good fight there is'

back with another album project, this time from American producer Christopher Ernst, aka L'estasi Dell'oro, who also records as Penalune and is co-founder of the Voodoo Down label. Before now, Ernst has proved himself to be adept at crafting deep and atmospheric, excellently ambient techno on a range of labels. Varying his tempos and textures, he does acid, raw stuff, tough beats and more industrial grooves. Across this new 8-track album, all this and more is explored in captivating fashion. This is an expressive and expansive modern techno album from L'estasi Dell'oro that is perfectly at home on the always interesting Field label.