quête:no man

Outstanding three track EP from the archives of Caliban (A side project of London musician Milton Myrie, a session guitar player who worked with cult UK buddhist afro and reggae band Ozo as well as on the much sought after Steel and Skin 'Afro Punk Reggae' 12'). Talk about bang for ye buck.. 1 side crucial oddball digital cuts, b side sounds like a UK jazz funk classic... Gold Print Sleeve. BIG TIP!
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Caliban produced only one self-released 7' 'Open Mind / Digital Reggae' in 1984.

Following the re-discovery of this very little known 7' by Caliban a few years back, UK producer Jackson Bailey aka Tapes managed to track Milton down, who as well as being in possession of most of the stock of the original record, was also sat on a number of amazing unreleased recordings from the Caliban sessions. With an album of unreleased Caliban material compiled by Tapes to follow later on Music From Memory, this EP introduces one of the unreleased tracks, the incredible feel good disco anthem Supernatural'. Taking us on a glittering, rhythm charged rocket tour of the Funk Cosmos, this until-now-unheard future classic will surely set the summer nights alight.

The three track 12' also includes Digital Reggae' which featured on the original Caliban 7'. This computerised dancehall/funk hybrid was partially penned to address the lack of black culture included in the payload of the United States' first space station, Digital Reggae will be included in the Payload of Skylab!'. As well as the original mix, the EP also includes a new dub put together by Milton himself and assisted by riddim specialist Tapes!

Mini Album with very high quality packaging. printed clear pvc sleeve over printed outer wich creates a stunning grafic effect when pulled out!

shadowy multidisciplinary artist & videographer denial.of.service returns to FILM for an extended EP of wrought iron electronics, channeling the spirit of classic electro, Industrial & Noise. the artist, active since the 1980's producing video work for a host of high profile names - including not least david bowie, currently transmits sporadically from an undisclosed location, though contemporary work has appeared on the creators project, as well as making the vimeo staff picks on an almost regular basis. recently, video commissions for minimal wave & jealous god affiliate In aeternam vale have ap-peared online, showcasing the artist's trademark crushed, hallucinatory visual aesthetic. If 2015's sensou EP communicated a more brooding, emotive side to denial.of.service - then contour & shape works in stark contrast. the palette remains relatively unchanged, with the 808 providing the back-bone for most of the compositions, paired with the same warped vox and heady synth leads - but this time around the production aesthetic is harsh and abrasive and there's a powerful, burning immediacy to the work. gone are the delicate, introspective leads & gently saturated drums, and in their place bursts of caustic, high energy noise and twisted drum machine strikes - and though much of the more tentatively dance floor material sticks to a stepping half time rhythm, 4x4 moments make a welcome appearance. contour & shape is bold and direct - a thunderous, high-energy salvo from a true creative with a rich and unique electronic music heritage.

*Restless Mashaits hailing from Geneva are based around the core of Jil and Stuf. They released a sizeable amount of new roots classics throughout the 90s and 00's. Recently becoming active again, they are best remembered for the sessions they recorded at Kingston, Jamaica in the mid/late 90s with legendary musicians such as Vin Gordon, Deadly Headly and Dizzy Moore. The original releases have been since long deleted, but some are now unearthed thanks to Partial Records.
*`Lion' from 1996, features the legendary Jamaican percussionist Scully Simms (who recently passed away) and was in every box of all serious roots selectors back then. Now long deleted, this will fill in the gap for the many collectors who have this on their wants lists.
*`Dub Lion' is a different dub version to the one previously released in 1996.

Astray is the Sublabel of Away, Berlin.

Berlin's party series and the eponymous vinyl label celebrate the launch of its sublabel ASTRAY with the 'Road Force EP' by Discrete Circuit. While AWAY with previous contributions from Joe Claussell, Mr. Ties, and Move D leans more to the housier side of things, ASTRAY will take a different path by taking some darker, techno-centered steps. Following the idea only to release productions by both label founders, Discrete Circuit and H4L, as well as unique collaborations which either of them will form with outside artists, ASTRAY's second EP will premiere the joint studio work of Discrete Circuit and DJ/producer Blind Observatory. EP INFO After releasing on labels such as DVS1's Mistress Recordings, Mark Broom's label Beard Manand Darko Esser's Wolfskuil Records, Discrete Circuit's new EP provides four progressivetracks mirroring his interest in a steadily growing techno narrative as well as mind manipulating onomatopoeia. On the A-side he's evolving his floor-aimed capabilities in two different ways: Starting with subtly quoting the infamous Motor City, the title track's on-edge techno design quickly accumulates into some kind of hounding; not knowing if you're the hunted or the hunter. 'Stress Resultant' increases the pace, whereby the restless vibe is contrasted by melodic synth patterns embodying a sort of playful corrective. The flip side introduces Discrete Circuit's experimental facet: 'Controlled Error' exhibits the dialogue between harmony and chaos in which shrieking, yet claustrophobic shades play hide-and-seek ultimately unfolding a gloomy funk, while the EP's last 'Circuitry' is completely carried by shape-shifting, pulsing soundscapes.

A leopard can't change his spots and Magnus International earned his spots in the sequence hue of Oslo's disco scene. 'Disco is the single thread that runs through all electronic dance music.' After an inconsistent hiatus from recording, the Norwegian DJ had donned the producer cap resolutely for his debut LP, Echo to Echo with us last year in 2016 , the an additional much loved album bonus 12. that all, aside his many other projects for us in the last years. now 2017, Magnus´ 'Synths' are on again , like a breath of fresh air and sunlight, these 4 tracks roll on to the world from oslo´s shores... and as his usually best Magnus is very strong on seamingly endless grooving chords and timing, sweet harmonycentric bliss and tight, on the point drum programming that comes with this 'pull factor' wich makes you want to play or listen out loud over and over again. There´s a Chmmr remix as well so things look really good here!

Monosoul is back on Tieffrequent with 4 timeless and classical cuts focussed on the important elements of housemusic...with love for the dancefloors, clubs and basements of this universe...
On the A-side you have - Make 'Em Match', a rough and steady house-groove containing a constantly bouncing bassline, a deep chord-pattern, a complex percussion-cluster and a well infixed electric piano...all elements are perfectly balanced, finalized and formed to a completed floorfiller. Then there is - Monument Street' after which the EP was named. Starting really deep and minimalistic it developes to an impulsive und powerful song. Organic pads, pulsating deep chords, a rhythmic bassline and well arranged drums make - Monument Street' flowing impressively from start to finish.
The B-side starts up with - Hot Concrete', a blazing, drum-driven basement-groover. With a sharp deepchord which is wrapped-up in several padsound-patterns, Monosoul creates a very own athmosphere. In combination with an impulsive bassline and a distinct percussion- ensemble - Hot Concrete' beats time on the floor noticeably. Finally - Life On The Red Island' as the perfect final track brings the - Monument Street EP' to an end. It builds up by adding small bits and pieces very subtly to a point you recognize a pulsative deephouse beauty. The remarkable bassline and the concise and bouncing kickdrum are casted in a flowing deep sounded carpet full of hope. - Life On The Red Island' disappears to where it came from and leaves you with strong impressions.
The - Monument Street EP' gives an insight into Monosoul's impressive understanding and definition of house music which you can hear on 4 tracks loud and clear...Thank You!

avorite Recordings proudly presents Natureza, first album of Joao Selva. The story of Natureza is made of the meeting between two passionate artists who are Jonathan "Matuto" Da Silva and Bruno "Patchworks" Hovart.Born and raised in Ipanema and son of a pastor, Jonathan Da Silva grew up in a community of ex-prisoners and converted artists. He made his first guitar notes before his 10th birthday, under the watchful eye of Wanda Sa (muse of the bossa nova), and influenced by a father who in addition to his work, was also a true music lover with a collection, where black music, rock and classical meet. From the age of 18, Jonathan began a life of entertainer, traveling the world to offer shows for disadvantaged children and intensively practicing the Brazilian traditional music arts (Capoeira Angola, Maracatu, Samba de Roda, Coco de Roda...). It was later in France and in Lyon that he put down his instruments. There he formed the trio Forro de Rebeca in 2008, touring the all country and winning many praise in media. The trio recently joined forces with American producer Maga Bo on the project Sociedade Recreativa, whose album was released in 2016 on The Jarring Effects label.Bruno Hovart is a recognized producer, multi-instrumentalist, and remixer. After passing through Angers, Birmingham and London, he's based in Lyon since 2001. Bassist and guitarist for various bands, he switched to production in the mid-90s. Passionate about music and tireless creator, Bruno has practiced in almost every imaginable style, when it comes to groove music, collecting many aliases and projects for more than 10 years: Patchworks, Voilaaa, Uptown Funk Empire, Mr President, Taggy Matcher, Mr. Day, Hawa, John Milk, Lightnin 3, The Dynamics or Metropolitan Jazz Affair ... Nothing resists and escapes his talent and production skills. Thus, when he discovered and met Jonathan and his music, Bruno saw an immediate opportunity to broaden the spectrum of his discography a little more, by looking at Brazil. Beyond its traditional heritage, Brazil has always been a land of extremely varied music, influenced by the international scene. Soul, Jazz and American Pop did inspire many local stars such as Chico Buarque, Carlos Jobim, Gilberto Gil, Tom Zé, or Erasmo Carlos. Both fervent lovers of this movement and these names, it's with the idea to pay them a faithful tribute, that Jonathan and Bruno began the Joao Selva adventure. Together they gave birth to Natureza and embark us for a trip into the heart of the Tropicalist Pop influences of Jorge Ben and Caetano Veloso, the intoxicating Funk of Tim Maia, and the social poetry of Vinicius de Moraes.

Celebrating the imprint's 10th anniversary, Mike Dehnert returns to his own Fachwerk label with a new full length LP available in 2x12" and digital, following a striking 12" on DJ Koze's Pampa Records at the end of 2016. Across 10 tracks, here Dehnert explores new territory with a restrained and subtle sound while retaining his commanding touch when it comes to creating deep club music. Intro sets the tone of the album, providing an profusion of tidal tones and textures that soak the listener in sound. Before long though, you're listening to the percussive stabs and pensive drums of Between No Words. Here we hear for the first time on the record the subtle but remarkable vocals of Albert Vogt, who returns throughout the LP. Listeners will also be reminded of Dehnert's skill for crafting complex and emotional music with very few elements, which becomes only more evident as this LP opens up. From here Dehnert traverses through dubbed out techno, deep house and downtempo, all with an experimental playfulness and a lightness of touch that only a producer with his talent and raw experience could pull off. The album peaks with the storming Providing Home 2. With swirling, unpredictable arpeggios, hard hitting drums and a sparingly used vocal hook, this is the track that'll ignite ecstasy across dancefloors for years to come. From here, Dehnert quickly cleanses the palette with the beatless Starground, a ringing and pulsing synth piece, pierced by all manner of klangs and bleeps. This perfectly sets up the album's final epic, Laxwax. Another one aimed squarely at the club, but this time it's for darker dancefloors. In stark contrast to its predecessors on the record, this track is insular, hypnotic and raw. Not content to end on such a note, Dehnert provides one last exertion. Outro is bombastic and pounding, with a rave inspired synth line and heavily swung percussion. Topped with cut up and percussive vocals, the track lives up to it's name summing up the LP and adding to it at the same time. This thoughtful record takes elements of modern pop music and extrapolates them with a patience rarely found within the genre itself. Backed by Dehnert's exceptional experience when it comes to producing club music, the result is an album that's simultaneously poppy and experimental, yet fundamentally rooted in techno. It's for that reason that this will surely be such a crossover hit; it has a palette that is broad yet refined, that will undoubtedly reach new ears while appeasing and surprising familiar ones.

From time to time, you hear an EP and instantly can sense that it s going to be significant. Sad Girl Seasonal Affective Disorder does what few manage to do - it tells us not only a story from different perspectives but describes the journey of the heart and mind when losing someone we love - the conflicting emotions when we hurt and the evolution of emotions we experience as we heal. It achieves this by using a rich and diverse collection of sounds as its vocabulary, and a brilliant integration and structure as its grammar. Also, this strategy manages to give each track its unique character, allowing them to stand on their own.

Released on 180 grams limited - vinyl only.

Fever AM comes from a Berlin connection between a pair of artists with roots on either side of the Mediterranean Sea and on both sides of the Atlantic. Label founders Mor Elian and Rhyw (one half of Cassegrain) share many musical reference points reaching back to early childhood right up to the present including the deeper, darker reaches of electronic music. The label is the pair s rawest and truest realisation of these influences.

The first EP will be from Elian, a sublime 4 tracker that has matured after a winter in the studio and is now ready for club play - from heating up peak time dance floors to trippier after hours moments. Sprinkling her trademark stripped back sound with electro and breakbeats the release sets out the label s stall to release vibrant, challenging dance floor music.

Inner8 is Daniele Antezza, a multi-faceted thinker and electronic music producer, member of Dadub duo, co-founder of Artefacts Mastering Studio, Dadub Studio owner and Holotone label manager, whose regular invocation of the term praxis begins to hint at his creative aims: a primary synthesis of contemplation and action that, in turn, encourages a secondary and entirely unpredictable set of syntheses dependent upon the listener's unique interpretation. Though the Inner8 moniker has been in existence for several years as a private nickname for, as Antezza puts it, his 'experimental anarchist sounds,' his recent releases are just now surfacing which will reveal just how much this project has to communicate.

Like many transplants to Berlin's pulsating sonic underground (Antezza moved there from Italy in 2009), his past work seems to communicate traces of the ecstatic with the argot of technical precision and / or scientific rigour. However, Antezza is not what one would call a 'Berlin artist' despite sharing these traits in common with the city's most visionary producers: his work gives off an impression of restless nomadism that has little to do with representing a localized scene. Rather than carrying on the territorial / parochial projects of reinforcing an arts scene's geographic boundaries (or even redefining the boundaries of a musical genre), Inner8 is more concerned with a holistic 'deconstructive approach' through which 'it's possible to reveal the paradoxes of the dominant thought, the paradoxes behind the status quo.' His fascination with concepts as diverse as asymptotes and particle physics, though often trendy among those looking for a seat at the table of the avant-garde, is a heartfelt fascination - moreover, these interests merge perfectly with his relentless theoretical questing.

Antezza's relationship with that city's Stroboscopic Artefacts techno label has been a particularly fruitful one, to the point where his sound work prior to Inner8 is almost synonymous with SA's own development. As one half of the psychonaut duo Dadub along with Marco Donnarumma, Antezza has sculpted deep and immense tracks that mesmerize with their harmonious interplay of force and ambiguity. After having co-founded and managed for years Artefacts Mastering Studio, he recently launched his brand new audio postproduction Studio (Dadub Studio), where Antezza lends his sonic signature to an eclectic variety of electronic recordings. That signature can be identified by its hyperreal sense of presence and immediacy, qualities that have become crucial to the presentation of a music that generally relies on only a few sonic elements per track to communicate its message.

Antezza also takes pride in the ritualistic quality of Inner8's live sets; a mobile laboratory of dynamic tension in which his theories manifest as massive physical vibrations (here we can also see / hear / feel just how well Daniele has absorbed the lessons of the dub 'sound system' aesthetic).

In a brief time Parris has not only engineered but fully-stabilised an otherworldly sound of unique resonance. Through leadership of cult label Soundman Chronicles and his own work on Idle Hands, Tempa and Ancient Monarchy, his research and publishing has attracted fervent interest in the UK Bass community and is rapidly gaining wider international recognition.

Measured with due diligence, he has propagated and influenced key research topics and industry best practice standards through regular transmissions on Rinse FM and the recent C90 Cassette 'TX280916 / TX111116'issued on Keysound.

Hemlock is honoured to present his most recent work exploring low frequency encryption and optimisation. HEK028 contains some of the most sophisticated and realistic models we have manufactured thus far.

'Your Kiss is Sour' a slow release payload observed from inception to destruction through decay. Malic tones are exposed, individually suspended then vacuum sealed allowing multiple strains to be dissected and ranked according to their sonic weight and availability.

'Flowering in Threes' introduces technology sensitive enough to detect and harness resonance from long-submerged sub frequency transmissions. The available models can be layered across several axis concurrently with minimal phase or gravity distortion.

'My Beautiful Fantasy' explores and challenges several popular weightless theories in an engaging and controversial tone sequence.

The second EP by Control Remote finally drops with 3 stunning cuts destined to become phuture classics in years to come. The first EP was a strong seller for the shop and provided the footwork for this second EP to drop. 'Music' on the A side gyrates a house groove with a moody man nod of guidance. This is one sure fire hot jam! On the flip we have the divine acid groove of 'Fragment Of A Sermon' kicking of proceedings whilst riding locked in groove. 'Give My Luv' closes the EP off with a low rider house slide that leans to left whilst moving you to the right! This second EP by Control Remote sets the standard for others to follow. HOTNESS personified!

Searing platter of krautrock with scorching doses of The Stooges & Judas Priest. Another ripper from this legendary Finnish horde!

Circle are the very definition of genre-defying, a rare feat for any band, but effortlessly achieved by this prolific Finnish collective. Circle's latest album Terminal is pure hedonistic pleasure. Never content on staying the same, they have created an idiosyncratic cocktail of sonic fusions, conjuring an impulsive, dizzying energy that stirs a spirit of curiosity within the listener, and has the ability to possess all who encounter them.
Whilst many would run out of creative steam (certainly after 30+ albums), Circle continue to boldly explore sonic soundscapes, venturing curiously into terrains of Stooges-esque swagger, trance-inducing kraut rock mantras, beautiful electronic ambience, psychedelic rock noodling, arena storming AOR weirdness, 70s prog rock extravagance, glam pop pomp, and of course their core sound, heavy metal, not to mention other peculiar and daring sounds that simply cannot be pigeon-holed. Terminal is gloriously fruitful in tones, shapes, colours and sounds. Eccentric, accessible, delightful and thrilling.

A brand new instalment in the Trans Afryka series, that is loosely inspired by the sounds of the black continent and devoted to club-oriented Afro-House.

Riding the waves of success with sold out volume 1, Zambon employed three talented producers to bring more goods to the table.
Transatlantyk regulars like DJ Dook and Universo are joined by a newcomer Tamten and together deliver a bomb of an EP!

Aptly titled 'Afro Acid' by DJ Dook is exactly what it says on the sleeve - raw DJ tool with squelchy samples, mantra-like vocal loop and focused vibe. Think of an soundtrack to a futuristic version of Apocalypse Now. Just the perfect peaktime beats to heat the party a little bit more.

'Praise Song' by Universo is built on a wandering bassline reminiscent of Malian blues with tribal chants, penny whistles and various sorts of percussions on top. This beautiful groove rolls and rolls without end, like an endless summer.

'Ukukhnaya' by Tamten is the most atmospheric out of the three, fusing New Age midi sounds with the vibes of South African deep house.

Ltd. to 999 copies, initial copies on black inside milky clear vinyl,

Cititrax present a split EP by two massive talents, Borusiade and The Sixteen Steps. Borusiade, originally from Bucharest, Romania began as a DJ in the early 2000s and then started producing music in 2005. With a background in classical music, she combined her love of raw electronics, obscure themes and melodic lines to create her own signature sound. She has released on the Cómeme label as well as Corresepondent. Infatuation and Confutation are dark, moody and intense tracks that catch you upon first listen. The flip side of the Promises and Infatuation EP features The Sixteen Steps, the brainchild of George Lanham who cut his musical teeth DJing and running events in the south of England. We have been listening to many of his tracks endlessly for a while now. They've also been a highlight of Veronica Vasicka's DJ sets as of late. Signals From The South and Promises On The Run are both immaculately produced, hypnotic, dance floor killers. They are sparse ebm meets smoky warehouse techno, and offer a wonderful contrast to Borusiade's layered emotive tracks that reminisce of an East Village club in the 1980s. Themes of infatuation, appearances, and anonymity appear throughout this EP from the music itself right through to the cover art.

Limited edition vinyl pressing of 999 copies, first 500 copies are pressed on black inside milky clear vinyl (each record is one of a kind), housed in a matte printed sleeve.

New comers Laughing Man and Noah Skelton release their 'Element EP', on Silencio.
The first track, 'Element', is a collaboration between the two artists. This combined effort rumbles into the clearing, dragging the dance floor and its occupants along with it for a riveting ride throughout its duration. A beguiling bass line, complimented by underlying ethereal sounds, seamlessly contrasts and connects to form a compelling rhythm. Riddled with space age laser samples that periodically bubble to the surface, this track consistently pulls listeners in by pushing out good vibrations.
On Side B Laughing Man goes solo with the second track '1939'. This dynamic offering is a model of contemplative creation that basks in its own thought provoking ambience. A series of scintillating samples, echoing in waves of varying intensity, are served up with satisfying drums and a clever assortment of claps. This release has a way of finding your mind and marinating in the sub-conscious because it's just that deep.

- Warren Hampshire from The Bees teams up with pianist Greg Foat

- Recorded with full orchestra all anolog to tape

- Mixed down on fully analog desk from tape direct to the old Sun studios 1/4 Valve tape machine.

- Hand made paste back sleeve with 60s style gloss finish.

- Mastered from Tape direct to lathe at Timmion Cutting Studios Finland.

- Sleeve notes by Bob Lind

Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair flying in the face of the brexit nightmare. Release June 2017

First vinyl release for 10 Years Of Metroline Limited series - Produced by label bosses Octad and Phiorio

This release is one of round numbers. It's Metroline Limited release number 50. You may have actually noticed that we almost got to release 90 by now but number 50 was always kept behind for a collaborative release between the two men behind the label: Andrea and Gianpiero aka Octad and Phiorio. It took a fairly long time to put this release together, mainly because running a label with a DIY ethos is a time consuming affair and most of the time doesn't leave too much free time for sonic experimentations. We really hope it was worth the wait! And what a better opportunity to release Metroline number 50 like for the label's 10 years anniversary. So much has happened since 2007, we released a LOT of music, some of our tracks have been played in the best clubs and festivals and by some of our favourite dj's. We are not going to name names but we are extremly proud of what we have achieved in our 10 years history. We are also proud of the fact that we are still around with energy and enthusiam to keep on releasing new music, this time (finally) by our label owners and also soon by a lot more talented producers in the months to come. Music wise, in this EP you will find some of the syles that made Metroline music known over the years. The two tracks on the A side are produced by Octad. Missing Bits has Octad's trademark minimal groove with hissing hats and a huge sub bass. There is a clever use of percussive bits, dark stabs and vocals to create a sublime dark minimal techno builder. Synopsis of 8 keeps the A side atmosphere well dark. Andrea managed to create a solid machine funk dark and spooky techno number with metallic percussion and plenty of groove. Phiorio takes control ot B side with the opening

Ninth instalment of Redscale. Grad_u with a masterpiece of dub techno. Vinyl only.

"Holdback", an unexpected twist of events for followers of Redscale, is actually a bold step forward in terms of pace and light. The enticing chords work like a magnet, and the potential of the lady on the mic is no lower than that one of a siren. The personal weapons of grad_u, the most powerful of which are the embracing loops, are of course out there, indicating the
producer's inner spirit and roots.

Picking up where "Holdback" left off, "Outwards from Laniakea" is a statement more rugged, yet as absolute as the message on side A. It's an invitation to put that jacket back to the
cloakroom, switch off that phone and let yourself go, again and again. It's, once again, a compelling statement against conformity.

***

Early support by DJ Deep, Cari Lekebusch, Jonas Kopp, Shlømo, Josh Wink, John Osborn, Echoplex, Don Williams, Wata Igarashi, Regal, Mark Broom, Marcus Intalex / Trevino, Ryan James Ford, Francois X, Albert van Abbe and many more... .

Repress

ARTSCORE - The very basic core of a man's living spirit is his passion for adventure. The label aims to reach people and show the true heart of the label, with the core of it. Emmanuel opens the label, showing the path with 2 Essential records. Diamonds & Ashes, The title comes from a 19th-century poem by Cyprian Norwid and references the manner in which diamonds are formed from heat and pressure acting upon coal.

The quiet before the storm. The abyss before birth. The moments that came before everything else. This is Episode Zero, Ben Gibson's inaugural album on Chronicle. It takes us soaring through a musical narrative, beaming down into vast acoustic valleys of sound. From the very rst notes the intent is apparent, lucidly slipping into a pool of full moon atmospherics. Departing deeper he carefully calculates each and every step, building momentum and pace until the way back is completely forgotten. Tracks like "Foreclosure" reach peak potential with crushed, mangled percussion, while others such as "Symptom" maintain a more seductive yet equally deadly pull. Building upon pillars of 12"s, Chronicle and Ben Gibson are now venturing into a new territory with Episode Zero marking the rst step. Join us.

Profusion (noun): an abundance of something rich.

The sonic partnership of K15 and Emeson originated in the days of MySpace. A future of combining their skills was inevitable, and now in 2017, it's time to unleash their debut studio album into the ether.

The solo-projects of Tottenham-raised Kieron Ifill (aka K15) date back a decade, but were truly kick-started on labels such as Kyle Hall's Wild Oats and WotNot Music, with a number of genre-crossing releases dropping ever since, including the WU15 project (along with Yussef Kamaal's Henry Wu, on Eglo Records). Additionally to his production work, he has established himself internationally as a DJ, from the Jazz Cafe to the CoOp parties.

Partner in Profusion, Emeson, has many skills to his bow - singing, songwriting, producing, promoting, DJing (under the alias Ed Nice) and acting. As a musician, his varied skill-set has seen him work with Chico Hamilton, Carla Duke, Karmasound, Uzo Madu and Chris Jerome. A frontman for soul-jazz groups LifeSize, The One and Saturn's Children, he has featured on releases for BBE and Tokyo Dawn, and appeared live on stage at the likes of Ronnie Scott's.

The debut single was supported by tastemaker blogs Wonderland, XLR8R and Stamp The Wax, has been bumped by selectors such as Lefto and Jazzie B, and played on NTS, Worldwide FM, Mi-Soul, LeMellotron, Balamii Radio, Itch FM, Invader FM, Soho Radio and various stations across Europe and the US.

This album is full to the brim with summery sun-soaked synths, drifting across the warmest of basslines and heavyweight beats. Emeson's rich vocals gracefully ride atop of K15's delectably bruk twist on neo-soul sonics and electronics, this is some seriously classy contemporary London soul music, that manages to incorporate flashes of various dance music techniques, sound-system etiquette and jazz-tinged rhythms. As future-thinking as it is subtly retrospective, it doesn't lend itself to one genre, it intentionally embodies the best of many. An array of everything that is great about British black music in 2017. The message the album conveys itself couldn't have come at a more poignant time. Where do we begin

Profusion - an abundance of something rich indeed.

Over the years, Phil Mison has become the go-to selector for those looking for Ibiza-themed compilations. None of his previous collections, though, have been quite as personal as Out Of The Blue, a compilation inspired by his first spell behind the decks at the Café Del Mar in 1993 - and the remarkable chain of events leading up to it.

Mison made his first trip to Ibiza in the summer of 1991 and quickly fell in love with the magical music being played by Café Del Mar resident DJ, Jose Padilla. On his return to the UK, Mison began to cultivate his own take on the laidback, open-minded style, recording mix-tapes of Ibiza style chill out' tunes to give to friends.

In November 1992, Mison was hanging out in Tag Records, Soho, when Padilla walked in. He plucked up the courage to speak to the Spaniard because earlier that summer Mison had given one of his friends some tapes to take out to Jose in Ibiza so he wanted to see if he had got them. During the conversation Mison invited him down to his next DJ set at Nicky Holloway's club, the Milk Bar and less than three months later, and clearly impressed by what he'd heard on the tapes, Padilla invited Mison to fill in for him at the Café Del Mar, beginning in April '93.

It's that first trip to DJ in Ibiza - a crazy six-weeks spent dividing his time between spinning records at Café Del Mar, hanging out in Jose Padilla's house in the hills, and meeting some particularly eccentric White Isle residents - that proved the inspiration for Out Of The Blue.

The compilation contains a mixture of records that Mison played in his earliest Ibiza sets, those that remind him of that period, and recent discoveries that boast a similarly warm, loved-up vibe. Mison is at pains to point out that it's not a track-for-track representation of his first sets, but rather a collection inspired by this most momentous of experiences.

As you'd expect from a selector of Phil Mison's standing, Out Of The Blue is an outstanding collection. Some will no doubt hear the influence of his mentor - the man he credits with effectively turning his DJing career around - in the undulating rhythms and new age melodies of Kamasutra's Sugar Step', the meandering synthesizer solos and Spanish language vocals of Congarilla's sublime Sacred Tree', and the lilting flamenco guitars of Gambarra', an unreleased mix from Mison's popular Cantoma project.

Elsewhere, listeners can marvel at the starry ambient bliss of Belgian legend Frank De Wulf's The End', recline to the saucer-eyed fusion jazz of the Christoph Spendel Group, shuffle along to tactile, hard-to-find period deep house from Language, Moodswings and Don Carlos, and marvel at The Cactus Rose Project's ridiculously rare Jelly', a sparkling, disco-era jazz-rock outing partly inspired by the Doobie Brothers' Long Train Running'.

Out Of The Blue may well be a very personal selection of tracks celebrating a moment in time, but it's happily one that we can all enjoy.

Welcome to Poland: Another country in the midst of fearful flux; where a huge proportion of the country feel their voice is no longer represented by the government; where raw emotions are being exploited cheaply by media to distract, divert and crudely divide; where there is more of a need than ever for like-minded positive souls to unite without prejudice and work together for a better future. The headlines sound too familiar for many of us in the world. But just as Trump does not represent most people in America and Brexit doesn't define everyone in Britain, Poland's right wing government does not exemplify the majority of Polish people. Like all world citizens, our generation and younger are good-minded, thoughtful people who do want to bring down barriers and work together. Their vision is one of inclusion and one of a proud future and how we can improve the lives of our children and grandchildren... Not become entangled in embittered roots of the past. It's evident in Poland's thriving creative cultures from the provocative art of Katarzyna Kozyra to the literature and poetry and films of Wojciech Kuczok. It's evident in the stark optimist architecture of Daniel Libeskind. It's evident in Krakow's thriving club scene and the country's bubbling pools of electronic music talent. It's everything Catz N Dogz do: their attitude, their music, their labels, their WOODED festival and, perhaps most importantly, their friends. Not just there to carry you home; friends carry you everywhere. And right here on 'Friends Of Pets' Catz N Dogz are carrying their companions' creativity with the same esteem and pride they host their Polish festival. A cultural statement and powerful showcase of their country's great thinkers, creators, collaborators and disrupters in electronic music, across 16 tracks

Welcome to Poland: Another country in the midst of fearful flux; where a huge proportion of the country feel their voice is no longer represented by the government; where raw emotions are being exploited cheaply by media to distract, divert and crudely divide; where there is more of a need than ever for like-minded positive souls to unite without prejudice and work together for a better future. The headlines sound too familiar for many of us in the world. But just as Trump does not represent most people in America and Brexit doesn't define everyone in Britain, Poland's right wing government does not exemplify the majority of Polish people. Like all world citizens, our generation and younger are good-minded, thoughtful people who do want to bring down barriers and work together. Their vision is one of inclusion and one of a proud future and how we can improve the lives of our children and grandchildren... Not become entangled in embittered roots of the past. It's evident in Poland's thriving creative cultures from the provocative art of Katarzyna Kozyra to the literature and poetry and films of Wojciech Kuczok. It's evident in the stark optimist architecture of Daniel Libeskind. It's evident in Krakow's thriving club scene and the country's bubbling pools of electronic music talent. It's everything Catz N Dogz do: their attitude, their music, their labels, their WOODED festival and, perhaps most importantly, their friends. Not just there to carry you home; friends carry you everywhere. And right here on 'Friends Of Pets' Catz N Dogz are carrying their companions' creativity with the same esteem and pride they host their Polish festival. A cultural statement and powerful showcase of their country's great thinkers, creators, collaborators and disrupters in electronic music, across 16 tracks

Hans Zimmer's score for Ridley Scott's Roman masterpiece, complete with Wagner-like anthems of war and accompanied by music evocative of Holst, was nominated for an Academy Award and won a Golden Globe for Best Original Score. Lisa Gerrard's haunting voice adds a timeless and atmospheric quality to the simple but stirring melody Zimmer uses throughout. Zimmer's score was voted Number Four in the 2016 Classic FM Movie Hall of Fame. Part of four new to vinyl reissues. This has original artwork with printed inner sleeves. Gladiator is presented in a gatefold sleeve. All releases are 180g heavyweight vinyl, and include download codes. The lacquers were cut at Abbey Road, home to many legendary soundtrack recordings and pressed at Record Industry.

This highly anticipated release by Los Angeles based artist, AXKAN, delivers a powerful message to the techno underground, letting everyone know this record hasn't come to this point by mistake. With powerful remixes by Luis Flores, Pinion and RolandoHödar to support, AXKAN delivers a strong statement with 'Tension', a techno masterpiece with broken industrial rhythms that is bound to shake floors, and crack the surface. He masterfully creates some true and raw emotion, with his dark, sinister and gritty sounds that is guaranteed to grab attention from the beginning. Axkan's self-confident creativity, however didn't come alone. Techno heavyweight Luis Flores provided a remix that is nothing short of spectacular. He encapsulates Axkan's raw, dark noises, and completely manipulates them into a gnarled and twisted rendition. Pinion's remix perfectly complements the release in a cohesive way to get the dance floor moving. His unique characteristics include a deadly vicious groove with glitchy vocals combined with deep melodies. Aerotek founder, RolandoHödar, had to get his hands in there, with his industrial techno breaks remix to add to this ferocious ride. With all tracks united together, this EP is rooted with serious energy and will undoubtedly tear speakers apart. It exploits experimental to traditional 4X4 percussion workouts and is definitely worth listening.

After what can only be described as a storming start to their label, Luke Hazell, Ben Murphy and Elliott Owen continue the exciting evolution of their brand Music Related with their first vinyl release and it's nothing short of sublime.
This spring, Music Related makes its bold entrance into the ever growing vinyl market with a heavy dose of minimal and house cuts in the form of a 4 track Various Artists, EP. MRRV001 drafts in the talents of Salva Stigler & Dubquest, Pat Ondebaak, Duky and Manuel De Lorenzi, and it's easy to see why as these 4 artist each bring a unique flavour to this well rounded minimal infused record.
The listener is welcomed on the A side by Salva Stigler & Dubquest - 'Dead Men Tell No Tales', which teases dark techno elements with a rolling progressive baseline. Definitely a track for the later hours, this dance floor weapon is sure to send heads tripping with the dark eerie vocals taunting the equally as impressive clicky percussion.
A2 takes a more laid back approach from A1 as Pat Ondebaak's track Matter offers up a low slung dubbed out groove with a sprinkling of crisp skippy high hats and a highly seductive mix of low and high percussion elements setting deep in the mix.
As we flip the record, Deep Tech records head honcho Duky brings an absolute club banger in the form of 'It Takes One'. Built around an old school drum break this hypnotic hard hitting track seduces you with its repetitive vocal stabs only to find yourself slapped hard in the face with the powerful 4 or 5 note synth line. Built for the big systems this high impact track is a certified party starter!
Closing of proceedings we have Manuel De Lorenzi's slightly more house oriented 'Whole Night'. This deep groove conveys a sweet mix of bouncy baseline, heavily swung hats and rides with a spaced out mix of filtered chord stabs and pads. Manuel's warm up vibe really rounds off what is a brilliant entry into the vinyl market for Music Related.

MAIN MAIN MUSIC is a record label and event management from Slovenia at the moment based in Berlin.
The word main main is from the Malay language, which means to be playful, playfulness .

"Main Main Music" wish to create a harmony in a word of music and outside of it, which is very important for a success and a great vibe as well as excellent being at our parties.

With our story, we want to put all energy and focus in a quality sound and music made with passion, organic elements, analog sound, true feelings, and character. Through our vinyl releases, we would like to present wide styles of deep, minimal, tech house music with already known and young talented producers from the whole world, which works in a creative way and wants to be recognized for their unique sound.

For our first VA CONNECTION Vol.1 release, we have prepared for you various artists feelings from different countries of the world. On this excellent compilation, you can listen to four original tracks which are flowing between deep warm after hour sound, minimal feelings, tech house groove, organic elements with spacey atmospheric pads and dance floor rhythmic.

With our first opening release, we are introducing you our label boss and producer MARTELLI ( Berlin ) with his uplifting, hypnotic, spacey and organic track A1. " Trippin Birds "which contains a beautiful voice of Slovenian singer AVA LOON combined with live-recorded elements of guitar, percussion and sounds of nature. Our next artist on the board well knows producer GORBANI ( Moldavia ) deliver to us dancefloor killer tracks. " Tanzweise " with very clear sound and spiced with old school tb 303 acid groove. The third artist of our selection is label owner of Mumble records / Druzhba records, JUST_me ( Berlin ) who made it for us really nice deep flow track B1. " Sputnik " which is perfect for some after hours sessions when the music takes you away. The last and not the least is Switzerland talented producer NAHSTE ONER with his super groovy dirty track B2. " Wet " which will definitely stretch your body on the dance floor.

A Quasar is the most luminous object in the known universe. It emits extreme amounts of visible light, but radiates like crazy on all other wavelengths, as well. Here you can get as close to a particularly energetic Quasar as no man has ever been before - during an adventurous space flight with Felix Eul and a bunch of other well-travelled sound cosmonauts. This voyage takes you to the final frontiers and beyond where you might even encounter strange aliens like the Pianoctopus, known to sneak its tentacles into the ears of unsuspecting astronauts and to tickle their skullcaps from the inside. By the way, during our flight we might experience turbulences which you will experience as sudden, adrenaline-loaded outbursts of euphoria. They are caused by transdimensional discharges along the wings of our spaceship, a phenomenon known as Interplay.

Panorama Bar resident Nick Ho¨ppner gets to Work on his second solo album on Ostgut Ton, connecting the territories of House music with the ease of Alt-Pop.
Work as in labor. An axiom that fuels the capitalist system just as the Techno/House scene economy says that one needs to keep oneself busy to make a living. As a musician, things are complicated of course. It's a long way from the romantic idea of creating music simply for the sake of art to becoming a full time musician. Those who have accomplished this feat often find themselves in a professional loop of writing the music, producing it, promoting it (with an info text like this), releasing it and then hopefully selling it. After leaving his full time job as Ostgut Ton's label manager in 2012, Nick Ho¨ppner went fully freelance, focusing on his musically diverse, deep and dynamic DJing in and outside Berghain's Panorama Bar, but more importantly spending more time in the studio. The result was his critically acclaimed debut album Folk (Ostgut Ton, 2015), various 12' releases and remixes, and now his sophomore LP, Work, which, more than ever, lays out his refined production skills and his talent to work the machines until they reveal their inner ghosts: nine new songs that now dodge the dance floor, then fully embrace it.
Work as in body of work. A record is more than the sum of clocked up hours at the studio, but the result of an artistic-creative process. On Work, Ho¨ppner shows his everlasting lust for musical detail, his increasing technical skills and compositional finesse. Work is a very personal, soulful and deep record that breaks through the usual club/dancefloor narrative by documenting Nick's interest for hybrid sounds and combining elements from varying musical genres. Work's lead single 'All By Themselves (My Belle)' is a very atmospheric, intimate and steadily unfurling IDM piece with ethereal synth and vocal pads; on the album it's contrasted by 'Clean Living' with Tram 78, a modern Ho¨ppner club classic: powerful, kick-heavy, muscular, cheerful and uplifting. It's a very personal track resulting from a recent reencounter with an old friend. Having spent countless hours together in Berlin's clubs in ever changing states of mind a decade ago or longer, things have since changed for both towards a more - clean living'. Connecting to this musical vibe 'In My Mind' follows with a slightly darker tone putting emphasis on bassline, percussion and squeaky sound detailing. 'Hole Head' pays tongue-in-cheek homage to Nick's love for UK club music, when a dashing melody of synths and vibraphone is matched with clattering breaks and syncopation. The dubby, mesmerizing 'The Dark Segment' not only impresses with its hypnotic synth figurines, but also by morphing to a shuffling Jazz rhythm towards it's middle part; 'Forced Resonance' uses Oberheim synth brass stabs to dramatic effect; the percussion- and clap-laden 'Fly Your Colours' comes with an irresistible piano melody atop an energetic kick; and finally the album-closing, shuffling but rhythmic, noisy yet bluesy 'Three Is A Charm' featuring the duo Randweg on clarinet, cajo´n and acoustic guitar is a coherent departure heading towards Indie Pop territory. It sees Nick collaborating with acoustic instrumentalists for the first time in his ten-year- spanning Ostgut Ton release catalogue.
Work as in artwork. Staying in line with the Folk album, the visual companion for this record comes from German collage artist Frank Bubenzer. As with the artwork at hand, Bankentsunami, and his other works, Bubenzer cuts up print magazine advertisements and recontextualizes them into new motifs, removing all human depiction from the source material, here as a commentary on the world of business, big money and the banking crisis.
Work as in work it. As a slogan 'work' has always been one of the genre's most utilized paroles, coined and put on wax by pioneers like LNR, Blake Baxter or Steve Poindexter, to name a few. Not only calling for the crowds to get moving on the floor but also to fully express themselves and their unique individuality inside an all embracing environment. A mindset rooted in House Music that has been an integral part of Nick Ho¨ppner's identity as a DJ and producer from the beginning and all through his decade-spanning residency at Panorama Bar. Work it!

Local Talk is proud to welcome back Marcel Lune for the release of his album Astral Palms.On this album Marcel continues to explore his fascination for melodies and composition and has created something that is wonderfully refined and thrillingly accessible.Listening to Astral Palms some may hear the influence from such great artists as Floating Points and Local Talk very own Crackazat. What Marcel is doing is fusing the two and adding his twist with enough originality to stand out from the rest.
From the opening track and throughout the album, you get the idea of this young genius' musical universe - music that aims to both soothe the senses and move the feet.
Astral Palms is not only offering a unique twist on melodious and rhythmic house music, it also highlights Marcel Lune' growth as an artist.

Last Days debut, 'Sea' told the story of one man's journey. Now with his 5th album, 'Seafaring', Graham Richardson returns to the sea to examine a range of vocations and exploits adrift.

Drawing inspiration from shipping routes, to Ernest Shackleton and his crew's ill-fated voyage on the Endurance, to families being disjointed and reunited, Seafaring goes some way to hint at what the oceans present to us. Seafaring reflects on it's subject matter by coherently linking moments that are minimal and still, to those that are compelling and cinematic.

Seafaring will be the first Last Days album pressed on vinyl and will be available in white or clear as well as digipak compact disc

A very expected release is finally unveiled, cold colors new ep 'leave this world behind'. this one-man project is without any kind of doubt one of the leading synthwave acts of france, frédérick barbe proved himself as a truly master into create hypnotic soundscapes on his fully analog recordings. 'leave this world behind' represents his fourth ep and again shows us what 'minimal melodic synth' music should be; perfect bass sequences, clear drum stems and that catchy cold colors pads. all tracks mastered and remastered specially for vinyl by eric van wonterghem at prodam studio (berlin).

Following a number of exciting tunes released on the renowned Quintessentials, here comes Mat Chiavaroli's first long-player 'No Stranger To Madness". Warm Fostex tape hisses and MPC swings, the guy from the Pescara hills delivers 10 tracks for both your dancing and listening pleasure. The A- and B-side tracks are drenched in dusty funk samples, gritty chords and syncopated rhythms. In 'Aroma De Mi Vida' Mat chops obscure Rhodes riffs and layering them with more elements, just like in 'Whoja Vu", a heavy-sampled disco juggler very close to his previous Quintessentials releases. On the flip we find some deep chords melting with powerful gospel vocals, giving life to a track that annihilates boring dancefloors. There's a similar vibe in 'Jeep Ridaz' that reminisces about seminal Atavisme classics with broken detuned bits and agitated cut and pastes give a sense of randomness. The second part of this album shows Mat Chiavaroli's deeper side. 'Double Pain' is a tune that progressively brings you to many aspects of what Mat loves: saturated female vocals stick out while gloomy chords gently develop. 'Storia Losca' has a slightly different attitude with a huge synth presence, live percussion and dreamy pianos. The D side opens with 'The Quiet Bobobo", a distorted floor delight and ends with something closer to Mat's early music, disclosing a fresh collaboration with the young studio fellow P.Lok. 'No Stranger To Madness' fits many bills and is an impressive proof of what Mat's musical ability is.

For our second release we brought back to life African movie soundtrack "Ceddo" - composed by one of our favourite African artists, Manu Dibango. 6 tracks full of Funk. With a great story behind.... now it's getting a full vinyl re-issue!

"The film takes place during the 17th century : period of slave-trading and of the introduction of Christianity and Islam in West Africa. The adherents of these religions all desired and hoped to pack their buildings, mosques or churches,by whatever means necessary. Arms and alcohol began to appear, as well as shoddy godds --- gadgets from another era. Anyone with a rifle tracked down and trated men, women and children. Man became money. After having converted the royal family and government dignitaries, the Imam encounters the refusal of the "Ceddo". For the Ceddo, adhering to Islam or to Catholicism would mean renouncing African spiritualism, giving up being themselves. To accomplish his goals, the Imam usurps the throne with the complicity of the dignitaries --- similar to the coups d'Etat of our days. Combining spiritual and temporal power, the Imam reduces the recalcitrant to slavery in exchange for rifles. He obliges the others by force of arms to accept Islam. Ceddo is a film of reflexion, birnging together bits and pieces of facts and authentic events that took place in a period spanning the centuries up to the present day."

Something special: Frenchman Sebastien Bouchet is launching his brand-new Sebastopol project. New name, same deliciously deviant electronica: his debut is compiled with serious detail and a cool coherency of humanised textures, trippiness and barbed, shadowy soul.

'Assassin' shoots to kill with its pranged-out toplines, gloriously wonked-out bass hooked and slurred vocal elements while
'Manethon' trips out on a broken note and melts into one of Sebastien's most magically far-out breakdowns to date.

The remixers echo his unique creativity with two suberb versions: Alessandro Adriani whips up dense layers of psychedelic tech on 'Assassin', while Privacy adds a gritty physical crunch to 'Manethon'. Bringing the whole package together with a range that will resonate with all corners, this signs the start of a whole new chapter for Sebastopol. We can't wait to hear what he brings next.

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision.

This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.

Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few.

Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

Deconstructed royal-court music from the forgotten kingdoms of the Buganda, reconstructed electronic wedding music, fluorescent pink African pop, crunched 8-bit drum machines and a 10-foot long monster xylophone are just a few of the many sounds of Ennanga Vision. This post-modern African soundtrack follows London producer Jesse Hackett's heady musical journey into the heart of Uganda - recording with chief collaborator, multi instrumentalist and singer Albert Ssempeke and featuring assorted vocal legends from the north of the country. The music blends a fully electronic sensibility with unusual, hand-crafted, African one-string fiddles, a 200-year-old harp and an enormous, group-played xylophone. It mixes traditional Ugandan folk songs and modern pop forms into a new PLASTIC ORGANIC VISION.
Hackett is influenced as much by the music of the African continent as he is by European electronic compositions and soundtrack scores. The sounds of hauntingly-dark vocoded vocals, crushed electronics, and poly-rhythmic drum machines sit alongside chiming African fiddles, rippling harps and children's laughter. He is a member of Owiny Sigoma band having sung on and co-written a lot of their work spanning three albums. He is also touring keyboard player for the Gorillaz and has released records on Stones Throw, Honest Jon's and DEEK Recordings, to name a few. Albert Ssempeke is the son of a prestigious royal court musician who played in the days of the old Buganda kingdom - one of more than twenty five musical siblings, Albert is simultaneously an educator, performer and preservationist of this intricate and complex traditional form of music. Here he plays over ten traditional Ugandan instruments including Amadinada (xylophone), Ngindidi (fiddle), Endongo (harp), Ennanga (flute) and many more

5th Birthday comp featuring a host of artistst who've graced the label over the perioid.. Exclusives from Tolouse Lowtrax, Geena, Iueke, Domenique Dumont, . Inoue Shirabe, Raphael Top-Secret and more... Gatefold Sleeve. TIP!
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Made of 14 sketches - each reflecting one of the many shades of the label's catalogue - Five years of Loving Notes features new names as well as those of artists who have been involved with the label since it's very beginning, like Geena or Iueke - responsible for the first 12' released on Antinote.

The music on this compilation covers a wide spectrum of moods and atmospheres, from the dark and raw excursions from Tolouse Low Trax or Iueke to the lush instrumental crafted by Nico Motte and Syracuse's Antoine Kogut; however as the listener gets deeper into the compilation, the whole of the tunes, sitting side by side on the records, start to make sense as they all seem to point towards the same direction. If one should try isolating a common trait from all these songs, one might come to the conclusion that it lies in the way they all speak directly to the listener's emotional receptors, unvarnished and without abusing of producer's 'tricks'.

We'll let the tricky question mentioned before in your hands once you will have been through this 63-minute long testimony of exclusive music by the artists who have been shaping Antinote's sound for five years; from the opening Latvian arabesques from Domenique Dumont to the Pink-Floyd-ian ending from the latest addition to the label, Alek Lee, via Leonardo Martelli's smoggy electro and Raphael Top Secret's ominous talk-over.

Ikonika's third album 'Distractions' builds on 2013's 'Aerotropolis', and the title answers the question Why has the album taken so long' In the last few years she's been building up a strong CV of remixes, from Chvurches to Dawn Richard, Austra and Junior Boys, as well as DJing and working on this album. 'Distractions' distils the character of Ikonika's music productions across a wider set of styles than previous albums, and she subtly fuses and switches elements from contrasting genres, giving the whole set a uniqueness and consistency that puts it in its own lane. Furthermore what sits at the centre of 'Distractions' more than ever is her love of R&B and hip hop, in all its forms, which has opened the door to bring in a selection of guests in a way she's not fully explored before. From the full throttle blend of grime and 80s synth soul 'Noblest' with Andrea Galaxy, to the reflective 'Sacrifice' with up and coming MC Jammz, a slowjam that merges dubstep with hip house drums. The final vocal track is the languid 'Hazefield' co-produced with Sweyn J and featuring Jessy Lanza on vocals. Its mix of mechanic clunk and minimalist, lulling funk could only happen in 2017. The LP artwork takes its inspiration from West London's Golden Mile, a stretch of the Great West Road where the A4 meets the M4, and the road takes on the character of the arcade game Poll Position, with art deco factories and illuminated, hi-tech signage selling lifestyle products. It's this kind of mix of futuristic and industrious with a touch of gentle glamour that the album exudes.

Welcome to Nightlife. Johannes Klingebiel's debut on RSS Disco's Mireia Records. An atmospheric journey. Melancholic, yet euphoria-inducing. Johannes' five tracks cast their shadows into the darkness, mirroring patches of light that can be found if you wander out far enough. It's simultaneously the soundtrack of sweaty dancers losing their sense of time and place and the hopeful feeling of a new day during a drive into the first light in the hazy morning hours. Johannes is a studied drummer. He released music on labels like Mule Musiq, Ancient Future Now and Feines Tier. He's also one half of Alma & Mater and travels constantly with the bands C.A.R. and Vimes. Oh and he's a great DJ as well. He probably never sleeps. That's how he manages to capture the magic of Nightlife. The vinyl comes in a screen printed sleeve with hand stamped labels and is limited to 300 pieces. Vital Sales Points: - Nightlife EP is a very good record - You might know Johannes from earlier great releases on Mule Musiq, Ancient Future Now, Feines Tier - Johannes is a good boy - songs from this EP have been featured on the last four Laut & Luise podcasts (~25 000 plays each) with lots of interest for the tracks - people on ecstasy really like it - Johannes recently put out an edit of 'Born Slippy' which is being played a lot by Dixon, John Talabot, Ame, Axel Boman etc.

Aficionado enjoyed a storming start to 2017, serving up a pair of sell out EPs from either end of the Balearic shoreline - now they're back with one more for Good Measure.
Teaming up with the Mancunian fashion house for a second season, this sonic selection pack is softer than velvet, smoother than silk and more durable than Moonboots' P.E. kit.
Pour yourself a spritz, slip into something stylish and bask in the brilliance of 'Good MeasurePt.2' Bird song blends into synth swell as 'Ottimismo' shakes our hand, pulling back a deckchair and inviting us to relax and recline with its simmering percussion, swaying bassline and delicate fretwork.
London's Simon Peter is the man behind the music, following a gorgeous 12" on Claremont 56 with another sun kissed soother perfect for a coastal drive, morning swim or lazy siesta.
We take a small step towards the fiesta on the A2, rolling our shoulders and nodding our heads to the infectious rhythms of Simon Cotter's 'Pianta Road'.Though the claves, woodblocks and guiro may dart like dragonflies over a midsummer drum pattern, the Australian conjures a calming breeze via Casiotone keys, spheric bass and sublime strings.
If that weren't enough to make your ice cube melt, the exquisite cascade of well-tinkled ivories could bring a tear to a glass eye and a smile to a cliff-face.The sultry sounds continue on the B1 as France's Murena charters a yacht from Saint Tropez to Es Canar, cutting through the dazzling azure with 'Un Prueba De Amor'. DX7 chimes and digital pan pipes glisten in the spray while a lilting groove rises from the deep, picking up snatches of distant conversations and the rise of tidal sine waves as it goes.
Drifting, dreamy and more debonair than Boardman's cravat, this is as Balearic as it gets. From here we go sublime, waltzing beyond the sunset to the baroque soul of B&B's 'Read Me'.
Waves crash and strings screech, a roaring storm kept at bay by warm double bass, pizzicato melody and spirit lifting poetry. Hints of hip hop and dub colour the immersive groove, while those neo-classical flourishes favour the cinematic diversions of PCO or Monsieur Tellier. Officially Aficionado.

Irish label Fatty Fatty spreads its wings with their 'International Disco Mafia' EP.
Extending from Dublin out to Drogheda and Galway and onward overseas, the EP provides something peak-time for all tastes.

The lead off track sees label top dog Pablo going off on a solo tip, delivering an end of nighter take on an eternal UK street Soul classic. Chopping together many different mixes to create an epic whole, this one has been road-tested thoroughly, and always brings the house down.

While Pablo was fiddling around endlessly with that one, usual production partner Shoey slithered off with newcomer Kellser to produce a dreamy, stretched out take on a late 70's staple , another guaranteed winner, and possibly the most bliss inducing song ever to run at 130BPM

The international part of the EP comes from Italian edit king Belabouche, who delivers a lovely take on 'Willie and The Hand Jive'.
Last but not least, Galway boy Island Time makes his bow with a straight up, brassy slice of soulful Disco aimed straight at the dancefloor...

We eroded pre-existent structures constructing an open heterotopic space, a horizontal and vertical thinking found its way through physical- and cyberspace, Here, nothing manifested instantly - flippancy left space for any kind of interaction and appropriation. Within (or well beyond) economic pressure points which diluted production, this was our opportunity to try out different potentials with no restrictions to the public, while simultaneously scrutinising the general framework of institutions and human behaviours.

The Toy Tonics crew is known for being addicted to two things: vintage music machines and old vinyl. 100% music aficionados. On the Tonic Edit series the crew shares some of their favorite old tracks - in a reworked version. This time COEO get back in time. They destroyed a couple of 1970ies disco jams. Recut & repasted them. And gave them their special COEO touch. Of course it's irresistible! This release comes on vinyl only first. Later maybe could be out on selected Digital sellers.. not sure yet.

Berlin's own Marco Haas aka T.RAUMSCHMIERE made an irreparable impression globally in the 00's as a sawtoothed, ANTI-rave radical thanks to his immense stage antics and larger-than-life releases on Novamute. Since then, Haas has established himself as a contemporary with emotive, dark ambient tales on his own imprints Shitkatapult/Albumlabel.
KOMPAKT's love affair with Haas goes back to our earliest days. Some of his first tracks were released on KOMPAKT in the form of two raw EP's entitled "Bolzplatz" (KOM021 - 2000) and "Musick" (KOM037 2001). These two formative releases elevated the "Schaffel" sound to raw and shameless places we never could have imagined. The results set a tidal wave in motion that to this day remains one of KOMPAKT's most infamous legacies.
In an off-chance reunion with Haas in his studio, we learnt about what he'd been doing since the "Monstertruckdriver" days. It turned out he's been ever so busy outside of the mainstream working with the likes of Dieter Meier of Yello, Caspar Brötzmann, Andreas Dorau, Fraktus, Ofrin or Barbara Morgenstern and his recent work with Ulli Bomans aka Schieres under the SHRUBBN!! monicker.

On the way out, he passed over his 2015 self-titled album - which proceeded to blow our minds. It was mutually decided that it's time for him to return home.
May 19, 2017, will see KOMPAKT releasing T.RAUMSCHMIERE's new, epic solo full-length HEIMAT. It presents another side of his work which was always there, but never got that much airtime: the artist, the author, the composer with the crystal-clear sound. HEIMAT is a stunning techno album that neither excludes Ambient, nor gets reduced to constant ass kicking. It's perhaps the best recording so far from this man who asks so deeply, so extensively, so much. And at some point even answers.

Some try it with mouth-to-mouth insufflation and cardiac massage. Others with
psychopharmaceuticals or group therapy. Still others with divorce. By going cold turkey. With a new profile pic and a matching hairstyle. Seen it all at Robert Johnson, already endorsed everything - at least as long as it helps: as a lifesaving measure.
But since the year dot, the Offenbach-based club with its affiliated label recommends to all which are undecided or have doubts particularly one thing: Music. And dance.
Every two years, when life newly blossoms during spring, Live At Robert Johnson opens its windows widely, lets new music out and fresh air into the house. The beguiling scent of nature and aviation fuel blends with the scent of sweat and dry ice fog - and causes sundry healing confusion. As soon as the first tone of the Lifesaver Compilation 3 is heard, the swelling grunt of Vincent Feit's 'X04', the scenery of the dancefloor right at the Main river appears before one's eyes.
On Saint Monday Iconoclasts rebel against the age of self-optimization. A crack goes through the parquet of the dance floor (or the dancing party itself). The post-unambiguities era is beginning. The images become blurred. Bass case. Alternative facts. Resonance hole. No reception. And then it's only the queue answering the club emergency hotline. Finally there is a buzz on the line. 'Just drop the images!', it says.

'It's all not that tragic.' This helps.
The Lifesaver 3 Compilation, the yet most comprehensive package of the lifesaver history, sounds like electro, sharp-edged like the vault in a Hague bunker (Lauer), provides data pop with piano crescendo (Fort Romeau), brings the style characteristics of German Schlager music to the breakdance mat (Rolande Garros), lets the bulky lily-of-the-valley bells clang and sends the reverb tails away with the wind (Benedikt Frey). There are several new names to discover: Felix Strahd, Benjamin Milz, Vincent Feit; and of course there a many old acquaintances: Massimiliano Pagliara, Orson Wells, TCB, Chinaski. Roman Flügel brings us 'Good News', however: 'From Another Planet.' And Fort Romeau feels 'Lost, Again', but in such somnambulistically beautiful manner that you want to get lost with him instantly and jointly find the great joy.
Again and again there are mysterious chants. It's not required to decipher the specific words in order to get the message: Salvation is near. Salvation is here:









[)] e1 | Roman Fügel - Chang

It is already possible to find works signed by Post Scriptum in discographies of well respected labels for quite a sometime. This undoubtedly confirms it's value. "Year Zero" is a first release on Post Scriptum's own label and in a sense it is a manifesto defining it's musical identity. No space here for a sound targeting the current techno mainstream. There is dirt, and the pinch of imperfections, very characteristic of avant-garde electronics and industrial well known for the quite nearby past.
On the A side, there are compositions appearing like shutters from experiments conducted in the secret laboratory.
The rhythm is giving the appropriate weight, while the rest is a musical conglomerate of sounds and synthesis building up a feeling of anxiety.A swarming energy, a modulation, an uncertainty and lurking somewhere danger are surrounding us.
On the flip side are remixes constituting the lighter counterpunch. Motor eurhythmics bringing to life the old good Detroit techno definitely of a dance-floor character, making this material ideal for an interesting set.

SUMS is the collaborative project of French electronic producer Kangding Ray and Mogwai multi-instrumentalist Barry Burns.

develop a new group that brought together different elements of both Kangding Ray and Barry Burns' musical traditions. Adding drumming savant Merlin Ettore, the pair devised a musical world that crafts post-rock soundscapes and structures using the sound-language of contemporary techno and experimental electronic music.

After a grand debut performance during the 2013 edition of the festival, the group decided take the project into the studio. Over a two-year period, working with a range of range of instruments, SUMS began to produce tracks that achieved an organic fusion of spatial electronics and rousing post-rock sounds that manages to seamlessly blends the best of the musical legacies of Mogwai and Kangding Ray.

The first action of this new phase of the project comes in the form of a 3 track EP on Berlin Atonal Recordings. A new live show will be shown first at Rewire festival on April 2nd.

* Includes a DIN A2long poster inside the 12" sleeve with edition number and music download code

* Rogue Style 1 EP is an international homage to b-boy culture, where the worlds of breakbeat music and breakdance collide. Sinistarr (USA), Kiat (Singapore), Kabuki (Germany) and HomeSick (Canada) are connected in many ways, now they lay bare their hip-hop roots and give something back with a fresh take through the eyes of drum & bass and juke/footwork. Here is what they have to say:

Sinistarr: "As a teenager I grew up as a b-boy, dancing anywhere I could: schools, parks, festivals, you name it, my crew was there with cardboard and a speaker. I eventually got deeper into DJing and making music and learned to bring a sound that's not just for the crowds and the purists, but also for all the dancers!"

Kiat: "Hip Hop has taught me to keep evolving, to explore new forms in all my art. Progression is the key to evolution. -- I met Sinistarr online thru myspace and we had a musical connection which led to our first collaboration 'Black Diamonds' which is still one of my personal favourite tunes I've been fortunate to be part of it's creation. With Kabuki, i've always been a fan of his work since his 'Makai' alias on No U-Turn, despite meeting him only recently thru the label.I've always known him to be constantly progressing his ideas in his music which I respect alot."

Kabuki: "B-boy culture has always been a strong influence on how I pursued my art, mainly because of its DIY ethos and attitude of perfecting your craft. Incidentally these were also the aspects that drew me to Jungle when I first discovered it in the nineties. -- I'm happy to rub shoulders with Kiat, Sinistarr and HomeSick on this release, as I'm a fan of their music foremost, but also because we became friends through the music."

HomeSick: "I was only a child in the 90s and as a result I feel like my understanding of b-boy culture was experienced second hand thanks to 90s/early 2000s hip hop music. I appreciate the parallels I can see with footwork culture, particularly the similarities to the community mentality of break dancing. -- I know Sinistarr through booking him for our local party night in Alberta, Canada called Percolate. Our city must have left an impression on him because a year later he made the move here from Detroit. Had the pleasure of hosting him as a room mate for a little over half a year, the home was a very potent creative space during this time. Kabuki hit me up a few years ago and we very quickly got to sharing tracks and collaborating together. Mans a master of production and a super important part of the global scene."

The idea for a reminiscence of b-boy culture stem from label owner Booga:

"Why am I interested in this so much I grew up in East Germany and as the movie "Beat Street" premiered in 1985 over here I was age 13 and blown away by the energy, the music, the wit, the style - everything in this movie was better than everyday life in Leipzig. So I started saving for a cassette recorder and taped music shows from West German radio and prepared tapes for school disco gigs to the hope somebody would do the "robot" to Arthur Baker "Breaker's Revenge". Unfortunately that never worked out hahaha. But I was hooked since then and as the wall came down in 1989 I travelled to West Berlin just to buy the Beats, Breaks and Scratches 1-4 vinyl box by Simon Harris. The fascination for breakbeats never stopped and before I discovered Jungle around '94 I was down with the British cut up house thing from the likes of Marrs, Krush and Coldcut as another form of breakbeat music. The "do it yourself" spirit from hip hop culture inspired me to start a local website called breaks.org in 2000 to locally promote the drum and bass scene with emerging producers, djs and mcs for a wider audience and I threw in some interviews with Storm, Kabuki, Rob Playford, Klute and John B. That turnt into a multi author blog called itsyours.info in 2004 which still exists - that is where I had the pleasure to introduce Kiat and Ash in 2007. All these years I was listening and playing drum and bass tunes when the occasional "bboy tune" came up, some were obvious like Alex Reece "B-Boy Flavour", Lemon D "B Boyz", Commix "Change" and some were not so much self-explanatory like Digital & Spirits "Phantom Force" and the remixes by T-Power & Codeine or Fracture's Astrophonica Edit - but I felt the hidden force of breakdancing nevertheless. With the Rogue Style series I have the first class opportunity to ask established and new Defrostatica artists to present a current interpretation of b-boy culture. This is a dream coming true."

Re-issue of the seminal 'Dust On Common' LP, from Led Er Est (Sam De La osa, Shawn O'Sullivan and Owen Hutchinson) was originally released in 2009 by the seminal Brooklyn based record label Wierd Records.
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The band's first full-length release showed the three piece clearly breaking out of the minimal synth underground they have been a vitally integral part of since its inception in Brooklyn to create an undeniably contemporary set of highly crafted and restrained, icily psychedelic pop songs.

Synthesizing countless disparate musical influences from first wave British industrial music to house, disco, and the largely unknown cold wave (aka 'La Vague Froide') tradition in Northern Europe, the trax on Dust fly by, straight out of the frozen hot, lonely cold plains of vocalist Samuel Kklovenhoof's native central Texas. After digesting a few songs of this rich dust, the listener can do no other than lie down in the wild weird Laredo bunker to revel in the refreshingly brisk blast of hedonistic analogue pleasure dancing through the airwaves in the sky above...

Bushcraft; the knowledge of survival in the wilderness.
A young man leaves the safe harbour of his home town, only to find himself lost and lacking the soul.He was always able to trust his ears, but are they really true to him. Or is he merely not listening. Distant echoes of bass and the melancholia that was always present seem far away. With Bushcraft EP Jor-El finds himself in touch with the elements.The elements of the hard hitting futuristic music that once took his heart and formed his life. Rumbling bass lines controlled by lazer sharp hi-hats driving forward. Eerie sounds coming in and drifting out again. Always driving forward. The influence of his early years in drum & bass is there. Still this is pure techno music from an artist discovering new things in the universe within himself.
True Rotary Recordings is run by Joel Alter and Ena Cosovic out of Copenhagen.Stemming from a mutual appreciation of the combination of raw techno and seductive sounds, the label is a natural development of their musical and personal partnership.
True Rotary Recordings represent their musical vision and the vibe that they love. Keeping it raw and genuine.

Until he was about 20, Texas-born Melvin Sparks was a rhythm & blues guitarist, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. But Sparks gave up his seat on The Upsetters' bus in New York City, where a chance introduction to George Benson led him to a place in soul jazz history. Melvin played and recorded with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington Jr., Reuben Wilson and so many more. Even during the quietest years of soul-jazz Melvin stayed relevant through hip-hop and r&b, a quick search at WhoSampled turns up more than 150 samples of his funky chicken scratch. And Melvin's legacy is heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he also guested with several times before his early departure from this realm in 2011.

This release documents Melvin's final band just months before his death. Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years, and, despite the power dynamic - they were in their early 30s, Melvin an elder-statesmen of the genre - the unit was sharp, relaxed and performed Melvin's music with a jovial spirit. The trio played the Burlington, VT club Nectar's regularly, but this night featured two "onlys." Per the recommendation of Nectar's agent they used the "Grippo Horns," the only time Sparks used a horn section in the last several years of his life, and they allowed a multitrack recording of the show. Both were strong decisions.

The tracks on this album, lovingly mixed by guitarist, producer and Melvin Sparks fan Eddie Roberts, demonstrate that Melvin played as well in the final months of his life as at any time. Sparks counts "Whip! Whop!" off at what he said The Upsetters called a "showtime tempo," and peppers it, as well as most of the album, with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He unfolds amiable melodies, patiently and methodically, through his several-minute lead on "Breezin'." And Sparks is audibly uplifted by the Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman" for the first time in decades.

Vanta 004 comes from Alex Cortex, an artist who has been producing music for over 20 years now and who has been featured on many Killekill releases already.
For this release he delivers two monumental tracks in his very own aesthetics: although both tracks are straight at first sight, their complex beat structure makes them shift and drift. And also their sound is distinctive: crystal clear and without any of the reverbs that you hear so often in modern techno they still have an incredible depth and sound more psychedelic than most of the other stuff that you hear nowadays. Killer!

Wild jams on the classic Linndrum, a driving bassline and a gated, almost out of control North African sounding leadsynth form the basic ingredients of this exceptional new record by Thee J Johanz

Wild jams on the classic Linndrum, a driving bassline and a gated, almost out of control North African sounding leadsynth form the basic ingredients of this exceptional new record by Thee J Johanz. The Fire in The Disco version adds more spices, like moody FM pads and an infectious disco vibe, ready to put many floors on fire. The record is garnished by the 'market version' of Bafrique, which is more like a dub/ambient excursion with environmental samples taken on the Vagator market in India. Artwork by Afrobot.

Cologne's electronic music community keeps on giving, drawing on a dense plethora of fresh talent ready to shake up our little big grassroots industry. The latest ace up the city's sleeve must be Tim Engelhardt, part of a new breed of incredibly versatile young producers that get their cues from all sorts of genres and listening situations, combining profound musical knowledge with intuitive playfulness and multiple perspectives on sound. In Tim's case, we're dealing with a solid pianist background - which becomes rather obvious in the great care he takes over harmonies and an expanded melodic structure. However, that's just one side of the story, as the organic fluidity and atmospheric dexterity of his music most certainly hark back to an upbringing among the rolling hills and sprawling forests of Germany's Westerwald - one of the country's best known mountain ranges that has already inspired artists such as Dominik Eulberg or Gabriel Ananda. Having released your first recordings at the tender age of 14 - as Tim did in 2012 - might put you in a 'wunderkind' category - a flattering, but ultimately risky proposition, finding many a prodigy overwhelmed with the dubious honour. Not so much our hero, who chose to put his skills to work: in only four years, he grew his portfolio with plenty outings on labels such as Traum Schallplatten, WIR, Babiczstyle, Amuse Gueule, Ostwind Records, Popart Music, Playmusic Productions, Parquet Recordings, Manual Music and more - but his breakthrough release was hands-down the 2015 EP 'Everything Is All You Have' on Steve Bug's iconic Poker Flat imprint, followed by 'Enigmatism' on the same label.

UNKR enslave dust-coated synthesizers, dilapidated drum machines and rusty FX boxes to craft 4/4 tunes for their impatient overlords. Their vision is clear - they will make techno, they will make house, they will make electronica, and you will listen and dance. It's not yet clear if BUNKR is the work of one frenzied human or many lazy individuals but we do know one thing - the ringleader is one James Dean, who previously released as Lost Idol on labels such as Pork Recordings, Nature, Final Frontier and Cookshop. Following a prolonged spell of writing music at slow tempos, Dean initiated BUNKR as a reactionary desire to speed things up. Too much time had been spent just sitting around - it was time to stop sitting and start dancing. True to their vision, here we have 'Cloud Chaser', a bubbling jam backed with a huge remix from Shan, who flips the mix with dramatic strings, sprinkles of magic dust and massive amen breaks. No less impressive is 'Juno's Revenge', a track you'd turn up on your headphones while taking a nice afternoon stroll on the moon, on a sunny morning after a long interplanetary rave. Igor Tipura delivers the rework, complete with a marching percussion workout and acid chemtrails that will send you right back to 1993.

FUSE bosses Enzo Siragusa and Seb Zito have been invited by the highly respected Rawax to bring a taste of their beloved London rave culture roots to the labels first release of 2017.
Since their launch in 2011, Rawax's catalogue has beamed with nothing less than the finest, and Enzo and Seb are a welcomed addition to their already colourful and diverse roster. Barac, Boo Williams, Fred P, Paul Johnson, Ricardo Villalobos, Ron Trent and Unbroken Dub are just a small portion of an incredible list of artists that have released via the labels original monarch and many offshoots thus far.

With 'Woonie Trax' Enzo and Seb perfectly resurrect the sounds of early UK rave culture into the present by digging out the early gems of their record boxes as inspiration.

'Barring the kicks, I think almost everything came from sampling old garage, hardcore and jungle records from the 90's. For those in the know, the clues are in the names of the tracks'. - Enzo Siragusa

Whilst 'Shades of Riddim, 'Lil Ley', and 'Blue Notes' all lend themselves to the early UK sound, each track has its own individual quirk making the EP a diverse representation of the days Enzo and Seb fell in love with rave.

Fresh off the back of his debut as Cucumb45, Bjarki presents another outstanding release. 'Slysó EP5 Cyclops í poka' is a 5-track, vinyl only EP on bbbbbb records, the label he runs alongside Johnny Chrome Silver.
Whilst the recent 'Something Weirdcore' challenged our understanding of genre, the latest release takes things further, playing with our perception of acousticspace.
Immersive textures are introduced without warning, just as quickly as they are withdrawn, never to be heard again. From the nostalgic harmonies of 'Cyxlobblobs5' to the unnerving glitches of the title track, high velocity drums of 'Aqua Elba' and mangled juke patterns of 'CATpitchd5', the EP darts its way through a range of new territories without hesitation.
Never one to conform, Cucumb45 rejects familiar structures, rapidly jumping between ideas whilst manipulating the physical properties of his sound.

Following his acclaimed collaboration on Strut with The Heliocentrics, the Father of Ethio jazz presents his brand new studio album, 'Mulatu Steps Ahead' for 2010! The album explores new directions in fusions of Western jazz with Ethiopian modes, moving forward the pioneering sound Mulatu developed during the '60s and '70s, showcased on the recent Strut compilation 'New York * Addis * London'.

For the new album, tracks were recorded with members of Either/Orchestra in Boston, with contributions by traditional Ethiopian musicians in Addis, members of The Heliocentrics and some of the UK's leading jazz and African players during the final sessions in London in November 2009.

Each track on the album tells its own story. The reflective, opener, Radcliffe, was composed specifically for the Radcliffe Institute during Mulatu's time lecturing at Harvard in Boston - the original score is now framed on the wall there. The Way To Nice was written and arranged on the tour bus during Mulatu's recent French dates - "with this track, you are travelling on a long journey, talking and thinking" explains Mulatu. "It was inspired by the many beautiful places on the coast road around Nice." Assosa adapts traditional music from the Assosa tribes in North-Western Ethiopia and Mulatu's Mood re-works a Mulatu jazz fusion composition from the early '90s into a new swinging Afro highlife arrangement. "I wanted to use West African styles within this version and try new ways of using the beautiful sound of the kora." Boogaloo and I Faram Gami I Faram reprise Mulatu classics with new, fuller scores and bonus digital track Derashe highlights the traditional diminishing scales of the Derashe people of Southern Ethiopia, a musical technique that would later feature in the classical compositions of Debussy and the jazz of Charlie Parker. "Many debate how this music developed but the Derashe have played these scales for centuries. It is an untold story."

Afrika Bambaataa, rapper, producer, DJ from the South Bronx, New York. Afrika Bambaataa is one of the originators of breakbeat djing and is respectfully known as "The Godfather of Zulu Nation" and "Amen Ra of Hip Hop Culture'. In 2007 has been nominated for induction into The Rock Hall Of Fame and in 2008 he has been honored by the Bronx Museum of Arts. Afrika Bambaataa's long career is pointed by many hits and masterpieces such as Reckless, Unity, Just Get Up and Dance and Pupunanny.
Countless collaborations with artists such as UB40, James Brown, Boy George, Leftfield just to name few of them. Afrika Bambaataa has recorded with many labels from Tommy Boy to Capitol Records and Profile but it is with the Italian Label DFC (Expanded Music) that he has releases most of his recordings.
Bring It Up is the new release on DFC LABEL produced by dj/producer Paul Carpenter. This release includes three versions in big room/EDM style along with a mega-mix and a full acapella collection of all previous recordings released by Bambaataa on DFC label. Two lyrics videos come to support the release.



[C}] a3 | Bring It Up (Down Mix)

Robin De Wolf is a man of many talents (and identities). Almost two years ago, he co-produced a groundbreaking debut EP on our label, as one half of SHIN. At the moment, he's making a name for himself as 'Phara' with uncompromising hard techno on labels such as Black Sun and Stockholm LTD. And now he delivered us three solid tracks under his new alter ego 'Robert D'. While 'Un Ni Yo is a house track with a wavy sound and affective synths, the second A-sided track 'Dommel' is a banger that begins with a smooth intro that changes over into hard kicks and raw bass chords. On the B-side, you can find a more melancholic uptempo track that goes by the name of White's Wisdom. Interstellar Funk' tops it all off with a remix of 'Un Ni Yo' that combines the wavy sound of the original with synth-heavy electronics. An absolutly killer EP!

Al Massrieen: Disco, Funk and modernized Arabic Pop from Egypt

In the beginning of Habibi Funk, our search was focussed on vinyl records. Around a year ago though, we got to the point where we realized that it became substantially harder to discover music, that we enjoyed and hadn't heard before. It became apparent that it was time to start looking for other formats. Cassette tapes were the obvious alternative. These were introduced in the arabic world around the late 1970s. In some countries they took over a bit earlier, in others a bit later, but eventually they pushed the vinyl format out of the market in the 1980s. In Egypt this trend already even started in the late 1970s.

Al Massrieen was one of the first bands I learned about once I discovered the tape format for myself. They were really popular in Egypt in the 1970s and the more of their music I found on either tapes or Arabic pirate mp3 sites, the more I was becoming a fan. Only very few bands from the region can match the band's versatility as well as their strive for innovation. Hany Shenoda is the man behind the Al Massrieen band. He is a reknown figure of the Egyptian music scene and has worked with everyone from Abdel Halim Hafez to Mohamed Mounir. Al Massrieen was his attempt to introduce his ideas of modernizing Egyptian music, heavily encouraged by Naguib Mahfouz (Egypt's only winner of the Nobel Price for literature) after discussing his ideas with him.
Al Massrieen's sound goes from lush disco like 'Sah' to psych rock like 'Horreya' or incredible jazz fused pop on songs such as 'Edba Mn Gded'. I was shocked to realize the band seemed to be hardly known outside Egypt, even though I feel they're at least on the same level as Ahmed Fakroun. An relative obscurity which I largely attribute to the fact that their releases never have been pressed on vinyl (apart from a Greece best of LP which wasn't a strong compilation of the group's songs). One way or another it felt like this band and especially their composer, band leader and overall brain Hany Shenoda was in need to get some recognition outside of Egypt. The release is fully licensed from the band and comes with an extensive booklet with liner notes, interviews and unseen photos.

Top Drawer 90's selection from the Boombastic Crew aka Nick Raphael (Manasseh. Riz Records, Roots Garden) and Gil Gang (Tuff Scout, Riz Records) with a tune that does what it says in the tin. Sound murderation!
A hardcore instrumental sound system bullet which has hints of King Jammy, Jah Tubbys and Unity Sounds.
This originally came on the back of a Riz 12' back in the early 1990's which is now a costly record to secure.

We were very happy to be asked by Connaisseur
Recordings if they could put out another album with our
music! Now it's all come together and they've asked us to
do our own press release for it and quite like the album,
we want to do it in our own way, personal and from the
heart. It's been a few years since our last Connaisseur album, and
a lot has happened since. We've built a new studio,
matured musically, acquired new gear, sold old gear, done a
lot of gigs, lost faith in music and regained it again.
The process of making The Loneliest Man In Space (this
album) was a genuinely pleasant experience, as we never
really set out to make an album at all. We didn't
conceptualize or have any grandiose plans, we simply
enjoyed ourselves in the studio.
Inspiration was running high, so we focused on making a lot
of music uninterrupted, rather than signing tracks, which
left us with quite a bulk of unsigned material. The idea to
release these tracks as an album came from our friend
Alex, at Connaisseur. We instantly jumped on the idea,
listened through the material, taking some tracks out and
composing a few new ones, to make it sit more together as
a whole. We tried to come up with a title that would ft
the feeling of the sum of tracks and settled on The
Loneliest Man In Space. As the album, to our ears, sounds a
little melancholic and a little spacey.
We sincerely hope that you enjoy the album either as a
listening experience, a dance experience or something in
between!

Thank you, and much love!
Vegard & Chris // Of Norway

3xLP+CD Artbook
(en) - Nearly two decades after the last official GAS album release, Wolfgang Voigt returns to his iconic Ambient project with a brandnew full-length.
- NARKOPOP continues the classic GAS aesthetic of symphonic scope and subtle variation, taking the listener on an otherworldly journey to the depths of rapture and reverie.
- Available as luxurious hardcover CD incl. 24 pages booklet.

In the body of work of Cologne artist Wolfgang Voigt - who, like few others, has informed, shaped and influenced the world of electronic music with countless different projects since the early 1990s -, GAS stands out in particular as a saturnine sound cosmos based on heavily condensed classic sequences. Even after nearly 20 years, the sound of GAS doesn't seem to have lost any of its luster, as shown by the commanding success of Kompakt's fall 2016 re-release of the essential back catalogue as a 10xLP/4xCD box set.

The overwhelming feedback from a loyal international fan community and worldwide media outlets attests once again to the sheer timelessness of GAS. Which is why it will feel like hardly a day has passed since the release of the last official album 'Pop' nearly two decades ago, when Wolfgang Voigt resumes this specific creative path with the upcoming new full-length NARKOPOP.

Even in the here and now, the unmistakable vibe of GAS immediately hits home, taking the listener on an otherworldly journey with the very first sounds, drawing him or her into an impervious sonic thicket, down to the depths of rapture and reverie. From wafts of dense symphonic mist emerges a floating and whirling feeling of weightlessness, before the listener steps into an eerily beautiful forest of fantasy, pulled in by the allure of a narcotic bass drum.

While earlier GAS tracks were often based on the hypnotic effects of looping techniques, the 10 new pieces on NARKOPOP unfold their magic in a more entwined manner, sometimes with the sonic might of an entire philharmonic orchestra, sometimes as subtle and fragile as the most delicate branch of a tree with many. A main characteristic of Voigt's oeuvre, the coalescence of seemingly contradictory stylistic aspects such as harmonious and atonal, concrete and abstract, light and heavy, near and far is also a decisive feature of NARKOPOP.

In accordance with the transgressive spirit of his collective work, Voigt carries the aesthetic conceptions of his music over to the realm of the visual. Based on his abstract forest pictures, the GAS artwork addresses Voigt's artistic affinity to romanticism and the forest as a place of yearning. For the first time, a closer look at the cover of NARKOPOP reveals signs of architectural fragments which hint at another, maybe parallel world behind Voigt's forest. Truth is the prettiest illusion.
(de) - Fast zwei Jahrzehnte nach dem letzten offiziellen GAS-Albumrelease kehrt Wolfgang Voigt mit einem brandneuen Langspieler zu seinem legendären Ambientprojekt zurück.
- NARKOPOP setzt die klassische GAS-Ästhetik zwischen symphonischer Grösse und subtiler Variation fort, eine Reise zu den Untiefen von Rausch und Entrücktheit.
- Erhältlich als luxuriöse Hardcover CD- Erhältlich als luxuriöse Hardcover CD inkl. 24-seitigem Booklet.


Aus dem Gesamtwerk des Kölner Künstlers Wolfgang Voigt, der mit seinen unzähligen unterschiedlichen musikalischen Projekten seit den frühen 1990er Jahren wie kaum ein Zweiter die elektronische Musikwelt geprägt, gestaltet und beinflusst hat, ragt sein Projekt GAS, ein auf stark verdichteten Klassiksequenzen basierendes, düsteres Klangkunstwerk, in ganz besonderem Maße heraus. Dass der Sound von GAS auch nach fast 20 Jahren scheinbar nichts von seinem Zauber und seiner Kraft verloren hat, zeigte eindrucksvoll der große Erfolg des im Herbst 2016 als 10xVinyl/4xCD Box auf Kompakt wieder veröffentlichten Backkatalogs.
Die überwältigende Resonanz, sowohl seitens der treuen internationalen Fangemeinde als auch der weltweiten Presse, bezeugte einmal mehr die schiere Zeitlosigkeit von GAS. Daher fühlt es sich auch an, als sei kaum ein Tag vergangen, wenn Wolfgang Voigt nun mit NARKOPOP genau da den künstlerischen Faden wieder aufnimmt, wo das letzte offizielle Album »Pop« ihn vor fast zwei Jahrzehnten hat fallen lassen.


Auch hier und heute verfängt der unverwechselbare Geist von GAS unmittelbar und nimmt den Hörer bereits mit den ersten Tönen mit in eine andere Welt, zieht ihn hinein in ein undurchdringliches Dickicht aus Klang, hinunter in die Untiefen von Rausch und Entrücktheit.
Aus dichten sinfonischen Nebelschwaden entsteht ein Schweben und Taumeln, ein Gefühl der Schwerelosigkeit, bevor der Zuhörer von der Anziehungskraft einer narkotischen Bassdrum wieder hinunter in den schaurig-schönen Fantasie-Wald gelockt wird.

Während frühere GAS Tracks oft auf der hypnotischen Wirkung des Loops basierten, entfalten die 10 neuen Stücke auf NARKOPOP ihre Magie auf verschlungeneren Pfaden, mal mit der klanglichen Wucht eines ganzen Philharmonieorchesters, dann wieder so zart und zerbrechlich wie der feinste Ast eines weit verzweigten Baumes. Das für Voigts Arbeiten so typische Ineinanderfließen scheinbar widersprüchlicher stilistischer Aspekte wie harmonisch und atonal, konkret und abstrakt, leicht und schwer, nah und fern ist auch auf NARKOPOP essenziell.

Im Sinne seines grenzüberschreitenden Schaffens, überträgt Voigt die ästhetischen Konzeptionen seiner Musik auch auf die Ebene des Visuellen. Das auf seinen abstrakten Waldbildern basierende GAS Artwork thematisiert Voigts künstlerischen Nähe zur Romantik und dem Wald als Sehnsuchtsort. Wer einen genaueren Blick auf das Cover von NARKOPOP wirft, der wird erstmalig Andeutungen architektonischer Fragmente entdecken, die eine andere, vielleicht parallele Welt hinter dem voigt'schen Wald erahnen lassen. Wahrheit ist der schönste Schein.

For all of his life Berlin based musician Drei Farben House has been thrilled by the artistic concepts of repetition and modifying resemblances. Small but precise and perceptible variations of (musical) themes have been fascinating him throughout his life as a lover of dance-infused Pop. The artistic concept of handwriting has been questioned in the world of fine arts with some justification, but Michael Siegle aka Drei Farben House has remained a strong advocate of this artistic principle which in his view has resulted in so many impressive musical expressions in the history of Soul and Disco --reference points which have been particularly important to Siegle's creative work. The album's sleeve shows the 'Doris and Norman Fisher House' in Hatboro (a suburb of Philadelphia) designed by Louis I. Kahn from 1960-1967. Kahn, based in Philadelphia and one of the most influential architects of the twentieth century, was already in his sixties and progressively getting famous around this time for his sensitive combination of concrete and brick in larger scales. The almost spiritual sensibility of his buildings and his poetry of light created deep, fundamental connections between the spaces and their inhabitants. New Release Information "Every building must have . . . its own soul", this famous quote of Kahn can easily be seen in the modest and wonderfully warm Fisher house which consits of two intersecting cubic volumes created from cedar wood - finished at the same time when only twenty miles away the newly founded Sigma Sound Studio recorded the Delfonics first record, installing the basements of Philadelphia Soul which was later leading to Phillysound, Disco and House.

10 Years Boxset

In the spring of 2007, musician and producer Paul 'Mudd'
Murphy decided to launch his own label. Named after the house
he grew up in, Claremont 56 would release beautiful music by
friends, associates, collaborators and like-minded musicians.
In the 10 years that have passed since, Claremont 56 has more
than surpassed Murphy's modest expectations. It has built up
a cult following around the world, with listeners responding
positively to the label's combination of magical music, beautiful
artwork, and impeccable packaging.
To mark the label's frst decade, Murphy has put together
a sumptuous vinyl box set of previously unheard material,
produced and presented with the same attention to detail that
listeners have come to expect.
Each copy of Claremont 56: 10 Years contains fve weighty slabs
of wax and a bespoke info sheet, housed in a specially designed,
hand-numbered box with debossed logos on the front and rear.
However impressive the packaging, it's the music that makes
Claremont 56: 10 Years stand out. Featuring a mixture of
unreleased tracks and brand new remixes of vintage label
releases, the highlights come thick and fast.
As you'd expect, some of the most impressive contributions
come from those artists you could describe as legendary',
including Chicago deep house originators Larry Heard and Ron
Trent. Can legend Holger Czukay kindly contributes one of the
standout moments, the eccentric 'Music To Be Murdered By',
from his own unreleased catalogue, while Afro-cosmic pioneer
Daniele Baldelli joins forces with Marco Dionigi to deliver a
typically spacey remix of Bison's 'Familiar Stranger'. There's also
an epic, Afro-tinged dub disco remix of Smith & Mudd's 'Nether'
by Norwegian scene founder Bjorn Torske.
Elsewhere, Good Timin' man Jex Opolis turns an overlooked
track by Paraiso into a samba-boogie killer, Sean P dubs out
Zee Erf's beautiful cover of 'Southern Freeez', and Phil Mison
turns FreshRo's laidback electrofunk cut 'Pacifc State' into a
breezy, Balearic gem. Look out too, for the emotion-rich beauty
of Statues' 'River Darkness' - a track arguably worth the cost
of the box set on its own - and the deep space explorations of
Almunia's Leo Ceccanti.
We could go on, but we're running out of space. Sufce to say,
Claremont 56: 10 Years is a lovingly compiled, curated and
presented celebration of the label's frst decade.

Fabio Borgazzi - aka Fabio Fabor - played literally every known style of music, from baroque to 'satanic' electronic, in his library music albums released during his career which lasted almost seven decades. Born in Milan in 1920, Fabor was one of the great artisans of post-war Italian popular music. Author, arranger and conductor with a classical background, he started writing songs (in the 1950's and 1960's) for popstars such as Nilla Pizzi, Johnny Dorelli and Milva; he then turned to music for theatre, cinema and tv, to which he dedicated the rest of his career. In 1981, when he released 'Galassia M81, Fabor was a veteran in the scene of library music, both as an author and an editor. It was the so-called golden age for the genre, just a moment before the advent of MIDI - which made everything easier, but flatter too, putting an end to the 'Italian Touch". The tracks featured here (credited to the fictional combo The Astral Dimension: Fabor together with his friend Antonio Arena) still have a definite Seventies taste, reminding the wave of German kosmische musik (especially the Darmstad school), but they also reflect the Moog-mania raging in pop music after the big success of Walter/Wendy Carlos with the 'Switched On' series. Avant-garde and kitsch hand in hand, ambient for documentaries and background music for horoscopes... all in sequence, with the only purpose of being used and generating royalties.

Schmer-007 "Smoking is Still Bad for You - Volume 1" is here and contains old school and new cool tracks from all the original Schmer culprits plus some loops from our new friends. Dietrich Schoenemann and Prototype 909 dug their tracks out of their vast archives of unreleased originals. DJ RX-5 and BPMF delivered some hot new Schmers to get us moving again.

For the last 20 years we've all been tormented by the great issues facing mankind and most vexing among them of course was "When will the next Schmer record finally come out" I am happy to say that the answer, my record distributing friend, is NOW!

Prototype 909 demands that you ( redacted ) ... "The Volume"! A track recorded in 1997 and finally getting released for the first time here. Prototype 909 was a "group" from "New York" that made "techno" in the "90s". Since then, the three members of this group all went on to do things. #TrueFacts

Dietrich Schoenemann has been so busy being one of the last men cutting all the records in the world that he hasn't had time to organize his catalog of unreleased gems. I distracted him with the old "look over there" trick and stole "8 Feet" from him while he wasn't looking. ( Hopefully he didn't recognize it while he was mastering it )

The last Schmer vinyl was DJ RX-5 "A Taste for Crap EP" from the then Moscow based very underground DJ Compass Vrubell. Nina Kraviz thought it was so crappy she put a track from it on fabric 91: Nina Kraviz; so I asked Alexey to make some more crap. He did it His Shway and this is the result. ( PS He still has all the patterns for the RX-5 from the original release so remaster, remixes and rereleases are in Schmer's future, HUZZAH!)

BPMF - The original Schmer artist had nothing better to do so he kommt back and gave us this track.

We love to torture the engineer so we just had to include some loops:
Rhizome is the alter-ego of Moscow wunderkind Nikita Zabelin.
Philly based Hero/Victim has been victimizing soundsystems up and down the East Coast with his mad live performances.
The Wise Caucasian is a pseudonym for some super famous London based producer and label owner, or at least that's what he claimed when I picked up his bar tab.

DJ Haus (the hardest working man in show business!) teams up with Mak & Pasteman for our landmark quarter century release!!! How the hell did that happen we only expected to manage about 4 releases tops We are really proud to welcome these guys to the ever expanding DABJ family, and they have not let us down with this first release... The title track and "Bang It" are room shaking heavy bass numbers, which we have been rinsing for almost a year now... Drive MF sounds like Paul Johnson and Daniel Bell "stuck in an elevator" (or some other bullshit analogy like that...). All 3 tracks = essential. period. "Buy on sight" etc etc...
Carefully hand stamped by the two slackest men in show business (or at least one of them anyway...)
Shout out once again to Lindsay Todd of Firecracker for the sick stamp designs!

Acclaimed Russian producer, DJ and live musician Kito Jempere is back with a stunning second album, this time on Italian label Hell Yeah. Entitled Sea Monster and due for release in early 2017, the nine track album is a fantastic fusion of live instrumentation and electronic production.

Kito Jempere is a musical polymath. The Russian artist, producer, multi-instrumentalist and band leader has been involved in many projects over the last ten years plus. These range from rock to acid jazz to electronic bands and often call upon a rotating cast of other members who are all equally talented.

From playing in small bars to headlining big shows for thousands of people in Saint Petersburg, he has put out a number of albums and singles on labels like Freerange, Room With A View and Hell Yeah and DJs around Europe.

Jempere plays live as the Kito Jempere Band, and here he calls upon his bandmates for their many skills to lend the album a richly musical feel.

Mixed and co-produced by band member Roman Urazov, the album features Artemiy Gunbin aka Noteless, the voice of the Kito Jempere Band and front man of his own rock band Videatape, as well as Ruslan Gadzhimuradov, a long time drummer on many projects, plus Matvey Averin, the bassist but also co-producer for cult group Manizha and finally Sergey Lipsky who here plays guitar and is also half of Simple Symmetry as well as having played for Kito's other project Saint Petersburg Disco Spin Club group.

Sea Monster kicks off with Lifetime Theme, a heavenly groove with loose drums and percussion and gorgeous keys. Form there, Artemiy Gunbin's ethereal and crystal clear vocals take centre stage amongst balearic guitars on album single 'Ampa', and then 'To Talk' is a deeper cut with bumpy drums, long tailed pads and shiny synths all making for a curious and whimsical atmosphere.

'Grid Cells' is a lush instrumental track with clever revel and echo adding a sense of grandeur to the freeform jazz drums and frazzled synths, 'Uohha' is as sunny and laid back as an afternoon on the beach and 'Puzzled' then layers up scuzzy basslines, popping hits and suspenseful synths into something smooth and seductive.

The final third of the album closes out with blissful guitar licks, lazy broken beats and brilliant drum playing that all have you wishing it was summer again.

This is an album with elements of jazz, house, disco, balearic and many more sounds all smoothly blended into one coherent and captivating album full of soul and musical skill.

Four Thirty Two, the new record label directed and curated by Richy Ahmed, reveals its second release this Spring with a fantastic new single from Luca Cazal. Out on vinyl & digital in April, 'Be Alone' is backed with collaboration with Italian producer, Andrea Fiorito.
Cazal has previously released music on Crosstown Rebels, Classic Music Company and his own See Double label, and once again displays his house music credentials on this Four Thirty Two release.
His understanding of club music runs deep; knowing what makes a dancefloor tick is an essential skill for any producer, and Cazal's DJ residency at the Paradise DC10 club nights and regular gigs at Circoloco keep him firmly in tune and adept at carving out modern and fresh party moments.
'Be Alone' is an inspiriting, rolling house track that builds steadily over its tenure. A filtered vocal hook unfurls over tension building strings and nimble keys, the hi-hats assuredly rattling over rolling snare fills and with the energy levels never dropping, Cazal serves up a cracking club cut with all the hallmarks of a filtered house classic in the making.
The infectious house grooves keep coming with 'Manali', with Cazal partnering up with Andrea Fiorito (Cynosure) for a no-nonsense, heads down, acidic basement moment. An urgent bassline bounces around the locked groove whilst choppy vocals, haunting synths and energetic percussion all hustle for prime position in this lively and effective track.

Amsterdam's cult producer and DJ Steven van Hulle a.k.a. Awanto 3 likes his samples vibrant, his drums wobbly and his synths sweaty as a Detroit summer breeze. The MPC wizard returns to Dekmantel delivering his second, full-length album. Gargamel is arguably his most compelling piece of work. Spread over the course of nine tracks, van Hulle shows he's capable of serving up many different styles and genres in his ever-expanding arsenal.
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The Rednose Distrikt affiliate kicks things off with his friend and co-producer Darling. 'Azrael' builds over shuffling, infectious rhythms, a cluster of vocal stabs and heartfelt keys.
'This Is When We Met', 'Why Don't You' and 'Gargamelancholia' on the other hand, are aggressive, batty-jackin peak-time tracks embracing classic acid aesthetics, while 'Positive Negative' is a stretched-out house jam incorporating the tussle of wonky boogie and tribal bumps.

Van Hulle drops the tempo on 'Hooli Goose', taking slow release hypnosis turns while making a marching band sound cool. The dry drum machines, melted bass and schizo sounds of 'Ride The Dragon' will appeal to the freaks, and the dreamy 'Happy Bird' is a tripped-out set of ambient and lo-fi themes. Last but not least, Dexter enters the stage to do what he does best with 'Thick': showing who's boss of the 808 with a straight-up electro essential.

De-Bons-en-Pierre is a project from Beau Wanzer & Maoupa Mazzocchetti. Beau Wanzer spends the majority of his days sifting through paraffin embedded animal tissues and reading old issues of Fangoria, occasionally breaking his monotonous routine to record in various fits and bursts. As well as solo material, he is also in numerous projects including Streetwalker, Mutant Beat Dance, Civil Duty, and Corporate Park. He's released on many labels including; Diagonal, L.I.E.S, Cititrax, Nation, Rush Hour, and Light Sounds Dark. Maoupa Mazzocchetti is the pseudonym of Florent Mazzocchetti, a French producer based in Brussels. Florent is strictly devoted to a DIY mentality around music production and his sound revives the electro-industrial aesthetic of the late 70s and early 80s. He's released notable productions on labels such as Unknown Precept, PRR! PRR!, Knekelhuis and Mannequin Records.

While Beau was visiting Brussels he stopped by Maoupa's house to jam for a bit. All songs were recorded on April 4, 2016 between 11:00am and 11:00pm, as single live takes.'Crepes' is a 6-track EP, titled so because they ate crepes the majority of the session. Beau says, "There was a bit of a language barrier. We'd mostly just laugh and nod when something sounded cool to us." The equipment set up included a Roland TR-808, TR-606, SH-101, CR-78, CR-8000, two Syncussions and effects. Over 23 minutes of garbles, sludgy synths and leviathan rhythms. Surfing the slippery slope between industrial and electro, but never quite falling in, just a dip of your pinky toe to to test the temperature.

All songs are mastered by George Horn at Fantasy Studios in Berkeley. Housed in a sewage green/blue jacket featuring a crepe-masked duo reminiscent of pulpy VHS covers. Designed by Eloise Leigh and Florent Mazzocchetti. Each copy includes a 2-sided postcard with a photo taken during the recording session.

After sending out these tracks last summer and getting great reactions from DJs and dancers alike, Hell Yeah is pleased to finally officially release virtuoso musician Verdo's Little Blue EP, complete with a remix from Lauer. Fully remastered for vinyl, the likes of Lexx, Chris Coco, Soft Rocks, Leo Mas and many more have all be playing these tunes with great results.

The talented Verdo runs the famous Gratis Club in Senigallia on the Italian east coast. It is a place he calls home, and that has really allowed him to hone and sharpen his DJ skills so that now he is a slick, unpredictable and singular DJ with many tricks up his sleeve. Bjorn Torske, DJ Fettburger, Prins Thomas, Kenji Takimi, Glenn Underground and more have all played there in the last decade and Verdo himself is a skilled pianist who has played for Zero7 singer Mozez in the past. He has worked with Hell Yeah before now, as well as releasing on Danny Was A Drag King, and here serves up his biggest bit of dance floor dynamite to date, including his previously digital only cut 'Big Fish' (mixed by DJ Rocca).

Opener 'Little Blue' is a perfectly sunny track with hip swinging claps, bobbling bass and boat party vibes that soothe your soul. Rich with instrumentals and golden synth lines, it's a perfect beat that gets followed up by the retro disco pump of 'Sazerac', another tropical cut with loose drums and rubbery bass to get you up on your toes.

The massive 'Big Fish' then hits hard with its tin pot percussion and wild synths all making you flail your arms like you just don't care. Jumbled jungle vibes and big chords all swell your heart as your feet skip about down low.

Closing out the package is Phillip Lauer (Tuff City Kids), one of the most in demand stars of the day, and his version is a direct house jam with percolating and rugged synths and slapping hits, all demanding you ditch your cocktail and get up and groove.

"all good stuff here! OG for early / mornings and Lauer for peak. really nice release! " Piers - Soft Rocks

"Big fan of Verdo! great tunes here as expected. Sezarac fav at first listen." - Dream Chimney

"Little blue is super nice!!" - Phil South (Golf Channel)

"Yes, some great stuff here. Sezerac and the Lauer mix are really great, perfect sunshine session material." - Chris Coco

"I love Big Fish's keyboards! strong!!! Arigato!!!" - Chida

"Little Blue and Big Fish are fun for sure, def will play em on a rooftop sooooon" - Jacques Renault

"Yeah, feeling Little Blue, heavy rotation this Summer! " - Jason Boardman (Aficionado)

"Little Blue, i like." - Lexx

"This is tremendous. Driving peak time track that you can imagine Joe Claussell really working the dancefloor with." - Andrew Pirie

"killer ep guys!!!" - Discodromo

Following the recent reissues of Pop Impressions, Super America,
Soul Impressions, and Chorus, Underdog Records label follows
up to the series with another brilliant album by French underrated
composer and producer, JANKO NILOVIC.
JANKO NILOVIC certainly was one of the greatest studio talents of Europe in the 70s!
He is a musician who devotes himself to music, which resulted in a great number of published works, but most of them made for library music labels and also not available for sale. His oeuvre stretches from classical, jazz and funk to pop, psyche
and easy listening. And has been sampled many times by hip-hop
artists such as JAY-Z, DRE, DAFUNIKS or GUTS...

If Aphex Twin and Mike Dred had a kid, they would have called him Analogue Bipolar Boy for sure. Colin Q Smith belongs to the old guard of ravers who grew up to the U.K. and Belgium sound in the early 90's.
Follow up to his must have Tales From An Analogue Graveyard EP' on Acid Night label last year, Into Darkness EP' sees the London based don finding again another french im-print, New Flesh Records, to serve up six wild, untouchable, brutal, old school-acid-industrial songs of his trademark. From the sinister overture of the beat less Into Dark-ness Theme', to the analog madness of Entangled', passing through the evil vision of Sad Robot', ABB blends an obsessive use of analogue synths textures, fusing with his un-limited talent horrific sororities to merciless rhythm constructions.
Many tracks were buried deep in a safe located on a secret analogue graveyard a long long time ago only to be recently unearthed onto the world... The recordings using only old analogue synths and you will probably notice the difference! Not for the fainted hearts, Into Darkness EP' is no doubt one of New Flesh most savages and intense EP's to date. In the AFX vein! Hear it and fear it.

End of February will see Luciano continue his newly launched Basaec imprint with 'Saved & Slaved', a two-track release featuring collaboration with Argenis Brito. Swiss-Chilean producer and DJ Luciano has been at the forefront of underground electronic music for quite some time now, heading up the infamous Cadenza imprint and releasing material for some of the industry's leading labels such as Perlon, Desolat, Cocoon and Poker Flat amongst many others. Here we see Luciano back on his recently launched Basaec label, delivering some of his signature stripped-back, dynamic and emotive material 'Lost In Lymbo' takes the lead and sees Luciano offer up a typically intricate twelve-minute excursion with subtly modulating and evolving percussion, spiralling synth swells, sporadic vocal chants and a smoothly unfolding aesthetic resulting in an archetypal and intriguing production from this forever forward-thinking artist. The latter half sees Luciano paired with fellow Cadenza artist Argenis for 'Pato's Track', stripping back the vibe to a raw cowbell and rim shot percussive-led state whilst lumpy subs, vocal murmurs and subtly unfolding flute like melodies ebb and flow throughout the composition.