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''Noir Jungle Part II'' finds the Italian producers 'Cardace & Perazzini' once again demonstrating originals and exciting modes of expression, not to mention the extraordinary level of detail in their music. It rounds the project off, with yet more unpredictable diversions of their immersive sound design to paint a vivid and unique landscape at its most dynamic framework. 'Swinging Plans' places the drums at the forefront of the mix, using incredible layers of brushed, rolling an expressive live recordings to create a truly thrilling experience that speaks to the deepest human instinct for rhythmic sound. 'Internal N.5', intensify the Techno-influenced energy as it races ahead on a tightly wound rhythm, adding a rich array of sounds into the mix to create a focused and detailed trip loaded with cinematic tension. 'George Is There', takes rich chords running through delay and reverb while maintaining a pronounced house groove with perfect and subtle touches of jazz into the track, invigorating sonic experience aimed at both, the mind and the dancefloor. 'Below the Earth', This is a perfect example of Cardace & Perazzini's exercise of restraint, keeping the mood simmering while still displaying their love for ear-snagging samples in between the folds of the track. 'Really Low Mind' sets a thrilling tone straight away with a rolling drum beat taking the lead and subtle tonal sweeps filling in the space around. It's a testament of skills when sequencing drums, not least when it peaks after a tantalizing breakdown. 'Night Train' sits easy on the ears but there is a deep level of production at work that reveals itself as the heavily processed samples of instrumentation starts to unfurl halfway through the track.

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.

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.

It is summer time in Nang land which means the dials are being set to Balearic. Step forward our all-around good chap, friend and producer buddy Pete Herbert. He has teamed up with Bali based musician and keyboard player Martin Denev to deliver an album of the finest Bali-inspired Balearic House. Hot and balmy evenings here we come.

Recorded on the tropical island of Bali, the album swings from Balearic grooves, to sun-filled terrace house, seaside electronic and swimming-pool funk. We open up with "Batu Karang", summery key stabs, lazy drum machine set the album tone hot, low-slung and swimming in positivity. Things take a more electronic turn with "Time" with its twisting synth-lines and locked on sun-drenched groove.

House music royalty Robert Owens swings by the cabana for a very special guest vocal appearance on "Pass Me By" next. His smooth and powerful soulful vocal compliment the pool terrace house grooves and sneaky thumb piano. As ever, Robert does not disappoint. To close off Side A the title track "Made In The Shade" gives us a slice of Nu Disco summer swing with funky strat and more cowbell of course in for good measure.

The flip side of the album opens up with a hands in the air terrace anthem. House pianos, punchy synth hits and beach disco groove all the way. "Sun Fish" takes things again in an electronic direction. Meandering lead synth lines, walking synth bass giving the perfect back drop to this island hopping anthem. Recent single "Night Boat" is next. Darting firefly arpeggios and lush keyboard layers prevail here. We end on a high with the up-tempo Gamalan inspired "Ruby Star" sending us out on a ocean deep wave..

Welcome to Nang Balearic airlines. Your pilots Pete and Martin hope you enjoy your flight.

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.

Roots In Heaven is a Berlin-based act that could very easily capitalize on his past accomplishments within the world of intrepid electronic music. As a label owner, resident DJ at cutting-edge clubs, and accomplished solo artist behind a number of conceptually unique full-length albums, the conceiver of this project won't likely need any introduction to the intrepid fans of electronic music. As an extension of this artist's already solid commitment to deep sound, Roots in Heaven represents a new voyage without the help of biographical cues to his listeners: hidden behind an evocative mesh mask lined with obsidian feathers, Roots in Heaven ignores the need to provide 'social proof' or self-justification. He communicates purely through the language of concentrated sensory impression, for which reason he has titled his debut, 'Petites Madeleines,' after one of the most memorable descriptive sequences in literary history (the famous meditation on the madeleine from Proust's À la recherche du temps perdu). As a prelude to the first full-length, Roots In Heaven has issued an untitled EP as a resounding 'shot across the bow'. However, this record is no half-conceived experiment to see what works and what doesn't, nor does it even feel like an 'EP' (in the traditional meaning of being a précis whose full report is available elsewhere). Attentive listening to its contents can cause a kind of time dilation, and a mysterious feeling of entering a world where familiar dualities (nature vs. technology, action vs. contemplation) are replaced by a feeling of total immanence. The A-side, 'Sang des Betes", accomplishes this with cascading, viscous layers of electronic tones that narrow and widen, rise and fall like the breath of some ancient entity. Periodically, bright flashes of tone arc across the horizon of the sound space, emphatically present but also elusive.

"DaRand Land" finally follows up on his Heaven Electric EP that first surfaced through PULP in late 2014. This time around, the package contains another 3 original cut + a super breezy remix by Scotsman "Linkwood".

"Our Future Is Now" is the perfect opening track for the 2nd installment of the Heaven Electric concept. "DaRand Land" surprises friend and foe with some heavily vibrating strings and pads which collide beautifully with the mechanical sounding perc cuts that itch throughout. Clever textures and a soothing atmosphere that are reminiscent of Mediterranean club situations. "Our Future Is Now" also proves to be inspirational to remix artist "Linkwood" who carves up an extremely juicy electro cut that gives the original somewhat more edge and forces it into an entirely different direction.

On the flip we find "Emanation" and "Mellow-ism". Emanation is a classic sounding yet effective House cut for the dancefloor, Mellow-ism is a more mood altering hazy trip with acidic tones and smooth drum patterns.

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!

Brian Kage returns on Michigander with the, 'Best Kept Secret EP.' Kage once again provides three deeply emotional dance tracks filled with his signature warmth that immediately draw connections between personal memories and Michigan's natural splendor. Best Kept Secret starts the record off with tones of hypnotic bells that cascade down from within minor chords that hypnotize the listener until they are met with swelling strings to tie the infectious grooves to intelligent vintage percussion. Lush vocals continue building into an atmosphere of nostalgia and eventually gives way to that moment of intimacy that can only be felt outdoors while exploring with a person they love. Lost on Old Free-soil Road features a detuned analog synth-line that winds up and down over a bed of spooky night-time forest field-recordings which are encompassed by a jackin' 909 beat . Suddenly, juno stabs straight from the 80's pierce through sending the syncopated grooves back the direction they came from taking dancers along for the joyful ride. Cruise Control on US-31 rounds out the record with an infectious blend of pitched wooden toms, warm mid-range bass, deep 303 lines, and a smoky pad straight from a vintage rhodes. All these elements help keep the composition positive & relaxing, while expertly conjuring the feeling of sun on your face. This tune is the perfect tool for any DJ interested in luring day-partiers to a space where they can't resist bobbing their heads and enjoying their summer outside.

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

Farron continues the course of Shaw Cuts with his 'Legend Of The Bat' EP, following in the footsteps of Chu Liu Hsiang: the journey to Bat Island.
The voyage begins with 'C.I.T.G', its relentless break-beat fundament combined with coarse synth lunacy to wipe out the first dark shapes - moonlit slaughter.
Joining forces with rivals, Chu Liu Hsiang is no longer alone as he advances on Bat Island. 'Semi-Final Thoughts' accompanies the newly-formed crew to the mysterious ground - a melody of warm synth and light churned by industrious oldschool drums. But who to trust
The fleeting harmony ends when several combatants unveil their guise and true motives. Loyalties revealed, massacre ensues. 'Unlimited Mind' pulsates, its bassline and sharp percussions decapitating those who dare to deceive.
'Derby' epitomizes the tension of the final showdown with low rolling tones, echoing chords and heavy percussion weaving the air like the rival in pursuit. With teamed forces and clever combat the traitor is annihilated from head to toe - bloodbath and game over...

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.

Inspired by the likes of Raresh, Zip, and Villalobos, the artist known as Kepler has something special in store for your local area dance floor. "Making Chords" is an exciting new release that's guaranteed to please.
The title track "Making Chords" can be appropriately described as nothing less than an addictive, bona fide banger that will instantaneously hook its end user after one listen. From the beginning Kepler. sets the pace with a smooth, sexy bass line that will command your attention and aggressively compel any crowd to start dancing. This passionate production pushes its agenda with a rumbling tempo, dynamic drums, and intriguing vocals that are well worth repeating. Laced with clever sounding samples and purposeful piano licks, "Making Chords" is made for anyone and everyone.
The second offering, "Wire" is a quirky, fun departure that gives insight to Kepler's wide range. This spooky sounding track is characterized by its off-beat rhythm, saturating bass tones and curious sounding signals that slide up and down while continually building momentum. As the "Wire" progresses, one can't help but to take note of how its unpredictable nature is dictated in such a well-organized manner. Very, very interesting.

Shelter is one Alan Briand, a young Parisian producer with a strong melodic centre producing a sound that pulls on the Zouk, the Afro, the Balearic and the Ambient palette. Zon Zon Zon is only his fifth release and his first mini album, following the series on International Feel that has brought us material from Len Leise, Wolf Muller and CFCF.

International Feel first met Shelter on a trip to Paris a few years back. It sounds like a story from a Nick Hornby novel, but there's a record shop in Paris called L'International Records, run by a guy called Dave who has a group of young French DJs, producers and promoters that visit the store, hang out and buy and listen to music - a story no doubt currently being repeated throughout the world as new generations immerse themselves in the culture. Shelter is a producer who has sucked up all that he has been hearing around him for a number of years and is now producing a quality sound, pulling on the exotic.

The seven tracks on this mini-album are taken from an extensive pool of Shelter's melodic magic. Some people lead on the beats, some on the production, but Alan focuses on the melody, with the beat closely tied in as support. Señor Zalla starts the album with an afro vibe, closely followed by the Zouk-style of Zon Zon Zon and Port-au-Cœur's mellow Balearic tones, as Shelter twists nature's sounds into his own sonic world. Bucolica, an upbeat wonder of a track, turns to the ambient mantra of Courant Rouge and it's distant cousin Courant Bleu, a classic rhythmic balearic piece with syncopated melody and delayed drums. La Volière (the French can make even bird cage sound beautiful) brings the album to a close with a smile in the mind's eye.


Zon Zon Zon is universal. It could easily have been created in Ibiza or Canada, Australia or Africa. It was in fact recorded at Paris 11, where Shelter forged beauty through the sounds of nature and uncovers a wisdom in its simplicity. We can expect good things from Alan. Here's the first chapter.

Stepping up for its landmark tenth release is label honcho Juan Sanchez, who drops four slices of heavy techno funk.. Over the course of nine releases, FORMAT Records have established itself as a very credible source for quality techno. Its tenth release again perfectly captures that frisky FORMAT sound. First up is 'Serpent, a mid-tempo and bass-laden belter that's followed by the darker, minimal-tinged 'Qualia'. 'A Different Place' merges Detroit-esque elements with tones of European techno, after which things close with no-beatsall-fx 'Stubborn Synth'. The tenth FORMAT release is a perfect snapshot of the label's signature sound, while paving the way for many more good things to come..

Jacob Long's newest recordings under the Earthen Sea moniker deepen his compelling synthesis of shadowy rhythms and opaque atmospherics, drawing on the most potent qualities of melancholic ambient and dub techno.

An Act Of Love' follows 2015's Ink,' released via Ital's Lovers Rock imprint,
and was inspired by internal tribulations and the experience of exploring an empty nocturnal metropolis. Careful waves of tones drift and decay, beats materialize and pulse across twilit landscapes, a noir mood reigns.

Given Long's background as bassist for revelatory tribal-punk trio Mi Ami, An Act Of Love' showcases a musician in the midst of transcendent redefinition, crafting an immersive language of texture and motion.

From Jacob Long:
This record was made over the course of the most emotionally difficult and stressful year in my life thus far. As such, it is both a reflection of that experience and also something that gave me space to begin working through issues to see a way forward, to a better place both psychically and physically.

An idea that was also central to my thoughts while creating the album was the concept and reality of being out in the city at night, wandering around a large urban area after dark - the contrast of empty streets but with life still going on all around, and the openness and possibilities that can bring. This music was an attempt to capture that feeling.

Stirred up from deep within, from an abstract spiral of sound and movement, from a sensation of time and space absolving and converging at once, the Black Flower musicians have molded a tangible matter: the album Artifacts. Their second full album sounds international and ageless. Eastern influences, Ethiodub and jazz effortlessly merge. Fantasy and reality seem to fuse. In a word: nourishment for body and soul.

"Psyche-delicious and accessible 20th century Ethiodubjazz. As if John Zorn put on Fela Kuti's shoes and imbibed Mulatu Astatke's whirls."

Piloted by saxophonist /flutist /composer Nathan Daems (Ragini Trio, Dijf Sanders, Antwerp Gipsy-Ska Orkestra), this instrumental band aims for originality. Fellow musicians and 'brothers down the road' are Jon Birdsong (dEUS, Beck, Calexico) on cornet, Simon Segers (Absynthe Minded, De Beren Gieren, Stadt) at the drums, Filip Vandebril (Lady Linn, The Valerie Solanas, Antwerp Gipsy-Ska Orkestra) at the bass and Wouter Haest (Los Callejeros, Voodoo Boogie) playing keys.

For many of us, the Ethiopian aspect once made known to the world by Mulatu Astatke will stand out. Still, Black Flower further adds oriental scales, Afrobeat à la Fela Kuti, jazz in a John Zorn way and varied western music traditions such as rock and dub. The resulting melting pot is undoubtedly inspired by Nathan's distant travels and the multifariously colorful city of Brussels.

...Pretty legit if you ask me - LeFto, Studio Brussel

After their well-received debut album Abyssinia Afterlife (2014, W.E.R.F. / Zephyrus Records) that created an atmosphere of mythical figures and psychedelia, Black Flower now reflects on ancient and modern cultures. The album title Artifacts refers to centuries-old fragile objects or tools that empowered the development of human culture. The world today would look entirely different without those artifacts. The seemingly brittle suddenly becomes a powerful welding cornerstone. Add the musicians' personal musical backgrounds and the result is an album with an ageless mystique. Artifacts is the synthesis of different cultures, of the past and present, and personal and collective memories. It is the soundtrack to modern reality, based on the elements that connect us.

Brilliant - Gilles Peterson, BBC Radio 6

One of Belgium's Best Bands of these past years (...) Black Flower does not simply play a tune, they always groove! - Kurt Overbergh, Ancienne Belgique

Uncomplicated originality, plenty of space for fantasy and an organic tone: those are the ingredients for Black Flower to lay claim to an age-old human ritual: dancing! Still, Black Flower also stands out in various other settings. Their audience at a jazz club will have felt exalted, their audience at a late-night show will not have resisted dancing. The band wields influence over their surroundings in a way only heart-and-soul musicians can. This mastery has repeatedly taken them to United Kingdom, France, the Netherlands and Germany.

Fans donated €25,000 to Emika for the project
Fans paid for the album before hearing any music
Electronic & Neo Classical. Fits 2 genres / Cross over
The composition is inspired by electronic music
Emika hired double the amount of bass players in a normal orchestra
Emika created a new seating plan for the orchestra, to sound more like a wide stereo pop album
Echo concepts (electronic music)
Romantic piece, lyrical piece, universal themes of love and sadness, huge beautiful melodies
50 piece symphony orchestra
Silver-toned soprano Michaela Srumova
Composed in Berlin
Recorded in Prague at Czech Radio Studios.

* The crossover between electronic music and classical composition has never been in more vibrant and dynamic health. Multifarious musician Emika explores this fertile ground on her ambitious new opus 'Melanfonie': her first orchestral composition, some four years in the making.

* Funded by a hugely successful Kickstarter campaign that exceeded its target by an impressive €25,000.
* While many rebel from their classical training never to return to it explicitly, Emika has always been attracted to the potential and freedoms offered by the symphony form.

* As well as taking inspiration from her electronic music background in composing the music itself, Emika also applied some of production and playback principles from that realm to create a piece whose every element has been carefully considered.

* Emika is on a quest to try and change what we mean when we talk about 'classical music'. For her, the magic of the 'genre' is about the instruments themselves and more importantly the people who play them; not the restricting traditions and conventions of the classical world itself.

* I want to change the face of classical music and give it a more honest and real image. It is time we had something other than pomp and circumstance and avant-garde squeaks and pops..

Supported by
Chilly Gonzales, Zola Jezus, Ellen Alien, Nina Kraviz, Mala, Christian Kellersmann, The Barbican, Francesco Tristano.

There's a myth about music critics that says we are frustrated, wannabe performers. Evidence to the contrary: Vivien Goldman. Ever since she migrated from pitching editors on the little-known music of Robert Nesta Marley to becoming one of the foremost chroniclers of the perfect storm of reggae, punk, hiphop and Afro-Beat, the London-born, New York-based Goldman has made documenting music her primary life work. But between 1979-82, Goldman was also a working musician, creating songs that, years later, would be sampled by The Roots and Madlib. These rare girl grooves are now collected for the first time on Resolutionary, courtesy of Staubgold Records.

Resolutionary takes us through Vivien's first three musical formations: first as a member of experimental British New Wavers The Flying Lizards; next as a solo artist, with her single 'Launderette,' featuring postpunk luminaries; and then as half of the Parisian duo Chantage, with Afro-Parisian chanteuse Eve Blouin. Goldman's synthesis of post-colonial rhythms and experimental sounds are threaded together by her canary vocal tones and womanist themes. Her eclectic musical crew included PiL's John Lydon, Keith Levene and Bruce Smith; avant- gardists Steve Beresford and David Toop; The Raincoats' Vicky Aspinall; the mighty Robert Wyatt; Zaire's Jerry Malekani; Manu Dibango's guitarist; and Viv Albertine, then of her good friends, the Slits. The majority of the tracks were produced by dubmaster Adrian Sherwood, and Resolutionary channels the history of a time when the bon-vivant voice of music was in the air, and Vivien Goldman was its eyes, ears, and mouth.

WRWTFWW Records is feverishly thrilled to announce the first ever vinyl release of the soundtrack for Hélène Cattet and Bruno Forzani's critically-acclaimed Belgian-French giallo Amer (2009), filled with superb compositions by Italian movie score legends Ennio Morricone, Stelvio Cipriani, and Bruno Nicolai, all remastered for hardcore audiophile appreciation. This limited edition of 500 comes on an arousing Pitch Black 10 vinyl, housed in heavy cardboard old Stoughton tip-on jacket. Described by The New York Times as "a surreal cinematic tone poem that pays slavering homage to Italian giallo horror films of the 1970s", Amer finds its influences in the films of Dario Argento, Luis Buñuel, or Mario Bava and makes for a truly visceral cinematic experience, thanks notably to a perfectly curated soundtrack compiling some of the best songs from cult Italian movies of the past.

Following his debut solo release 'Altar Ego EP' on La Mission in early 2016, J Choirboy returns with more bombastic breakbeats and raucous rave chords for your earholes. Another sharp shot of nostalgia to the heart to have you waking up spluttering in the glory days of '92. Simpler times when the internet was still in black-and-white and you and seven of your mates would pile into Gaz's Vauxhall Corsa and drive to a field somewhere off the M25 for a 'propa wicked' rave which you found out about from a party hotline on a crumpled flyer with some tenuous reference to science in the title. It's once more time to don the boiler suit and your rose-tinted Lennon frames, bask in the smell of Vicks VapoRub, and pour over the Polaroid albums of yesteryear. A colossal bass drum with a healthy slathering of reverb lays the foundation in 'Full Effect'; the interlaced hardcore stab sets a melancholy tone. But lo! In rush the clattering chords of the piano, refuelling the piece with MDMA-laden euphoria. In 'Lights Down', J Choirboy explores the sombre and reflective modes of the hoover synth. Subtle plaintive chords offset the characteristic rumbling bass drum and syncopated cadences of the breakbeats. As the first release on new label Rough Grade, the EP provides an uncompromising dance floor onslaught, occasionally soothing the listener with catchy melodies before continuing course through a stormy sea of roaring beats. Not for the faint of heart. Vital Sales Points: - support from Answer Code Request, Ryan Elliott, Boys Noize, Dustin Zahn, Fiedel, Martyn, and many more for previous release 'Altar Ego EP' on La Mission.

From the whip-like crack of Yako's signature staccato vocals and impossible-to-memorize lyrics to the relentless overdrive tempo of their oneof-a-kind prog-core, Melt-Banana have long resided in a cybertopia of their own devising where the limits of technology and human capability are old-world concerns as quaint and cumbersome as bartering with a blacksmith. The demos for Fetch, their first studio album since the severely fried pop-punk of 1997's Bambi's Dilemma, were completed in March 2011, but the Fukushima earthquake changed everything, including
their ability to concentrate on recording. Which stopped completely.

Once they felt ready to return to their music, they decided to approach the songs on a sound-by-sound basis, choosing each tone with meticulous attention to detail, affirming their personal connections, being themselves naturally and openly.


Fetch scrapes glam shimmers off punk's outermost fringes and forges them into a rather intensely technical Deanscape packed with fantastical hybrids. Agata's guitar riffs, seemingly composed in tandem with skipping CD players, are more bad-ass than ever, bright and fractured like the soundtrack for a CC-Hennix-scored biker flick. The album is juiced with electronics and post-rock production, tempering what could easily be a
tiresome and predictable frenzy, yielding unexpected associations: Kate Bush climaxing on Walter White's blue meth; demos of late-period Wire playing metal run through Wasp synthesizers and Autotune; unripe wild
lychees keeping time on an Ankgor Wat tin roof during a monsoon.

They've been performing live as a duo since summer 2012, and will do the same for their '2 do what 2 fetch' tour in support of the album. After nearly 20 years of playing with a live rhythm section, their use of a PC, while opening possibilities for a variety of drum and synth voicings, does not signal a move away from the traditional live band sound, as heard, for example, via the future transmissions from downtown Noiseapolis on
2009's Lite Live: Ver. 0.0. Yako and Agata say they need to feel real band sounds onstage as much as someone in the audience. This is a group that routinely excels at several kinds of impossible simultaneously, so of course any new challenge they come up with for themselves is sure to blow the doors off your Mini Cooper. - First record as a duo expands the M-B sound
into multiple dimensions - LP includes digital download card; first
pressing on clear vinyl

TS07 is the 4th EP of the TONE SERIES project and in line with the previous three releases TS08, -09 and -10. However, while MACHINE DREAM freezes you up with its winter grooves whilst on your way to the club, KEEP THE BOMB warms you up as soon as you get inside. Whereas MACHINE DREAM unveals shamanik percussions driving a tribal acid vibe with a big amount of pads that make the track ramping crescendo up, KEEP THE BOMB establishes itself as a major dance floor tune with its killer beast, cruising vibe and staccato voice percussion. With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, MACHINE DREAM and KEEP THE BOMB distinguish themselves from each other through their vibes and colours, although they remain in the same spirit. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality comes out of colours.TONE SERIES was born from the collaboration between late Villa's former bouncer (one of the most underground clubs of Berlin) Wolfram, French music producer, live performer and DJ David K, and LumièresLaNuit's co-founder and An der Grenze's founder.

Phantom Forth were the brother sister team of Paul Luker (Guitar, Bass, Vocals), Debbie Luker (Drums, Guitar, Vocals) and Lorraine Steele (Keyboards, Percussion, Vocals). They formed in 1981 in Auckland, New Zealand. Paul began recording his own music after purchasing a 2-track from Oceania Sound. He formed a band with his flatmate and eventually met Lorraine through Debbie. With a shared love of Young Marble Giants and Cabaret Voltaire they started to rehearse at LAB Studio.

'The EEPP' was recorded in 1983 within a few weeks at Progressive Music Studios. Slated for release in February 1984, the mini-album finally appeared in November on Flying Nun Records. It contained seven moody sketches of Auckland. Their sound blends cold wave guitars, drum-machine propelled post-punk with female vocals. The core recording set up was a Casio-Tone VL, Boss DR-55 Dr. Rhythm, Roland TR-606 and an acoustic Yamaha bass. All original vinyl copies contained many clicks and pops and due to paper bits from previous jobs that pressing plant melted down. Included with this reissue are two early demos recorded at LAB in 1982, made prior to Lorraine joining the band, plus a recording from the Flying Nun live compilation 'The Last Rumba'.

All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The vinyl comes housed in sleeve with original artwork collage designed by Paul Lurker. Each LP includes a two-sided 8.5x11 poster with notes and photos.

Renowned house veterans D'julz and Jordan Fields drop two tracks each for a split release on Radio Slave's Rekids this December.One of the key components in Parisian electronic music, the A side sees a display of groove led cuts signature to D'julz as 'Shy Town' combines sultry bass tones with mesmerizing atmospherics and tranquil piano chords, making way for the crunchy drums and trippy synths of 'In Your Soul'.
Meanwhile, from across the pond in Chicago, Jordan Fields' raw productions begin with syncopated percussion and fuzzy notes until 'Mformation' concludes the package with thudding kicks and ethereal melodies.
Both artists have been commanding forces in electronic music for 25 years each making this split release very special indeed.

Deluxe LP w 180g, Reverse Board Sleeve, MP3 Download - HOLOVR is Jimmy Billingham who also records under the alias's Tidal, Venn Rain, Journey of Mind & Holographic Mind - He has released music on Firecracker Records, Opal Tapes and Hooker Vision as well as his own Indole Records Release Information Anterior Space may strike some listeners of a certain age as an echo of the gilded age of "armchair techno" exemplified by Warp Records' Artificial Intelligence comps. There's a similar convergence of the cerebral and the blissful in the four epic compositions HOLOVR (aka Jimmy Billingham) finesses from his analog and digital synths as that found on those early-'90s pieces by Black Dog, B12, and others. Discussing the creation of Anterior Space, which is the first HOLOVR release to feature no beats, Billingham reveals, "Dropping drums gave me a bit more freedom in terms of tempo and rhythm, and it was actually really liberating. Having fewer elements in a track also meant it was possible to record live, which is my preferred way of working, as you can capture an actual snapshot of time and a natural, in-the-moment negotiation of the different elements of a track. I'd know a track was ready if I could sit there and listen to it looping round for long periods of time and really get lost in it, and then I'd try and capture a nice section of that in the space of 10 minutes or whatever." You can hear this on Anterior Space's opening 11-minute track, "Into Light." Its subtle gradations of warped tones and implied rhythms teem with hyperactive elegance. The titular light glints off of several jeweled facets, like a disco ball made out of diamonds. The slow, mobile-like rotation of synth baubles over a foundation of yearning, icy drones on "Apparent Motion" creates the illusion of a shimmering stasis, but there's actually a great deal happening here. .

Black Truffle is thrilled to announce Reverse Tree, the new LP from the acclaimed duo of Eyvind Kang and Jessika Kenney, two musicians who have established themselves as powerful voices working at a unique intersection of contemporary composition, improvisation, and Asian traditional music forms. Either individually or as a pair, they have worked in contexts ranging from performances of traditional Persian and Javanese music to collaborations with Sunn O))), but their work together as a duo (documented on The face of the earth and Aestuarium, both released on Ideological Organ/Editions Mego) most clearly represents the central concerns of their diverse practices: a music of the inner life of sound, demanding ritualistic focus and promising heightened sensations.
On Reverse Tree, the duo expand their work together into the realm of the chamber ensemble, presenting two side-long works that feature Kenney's voice and Kang's viola alongside a multitude of other instrumentalists. Kang's Thoughts on Being Exiled to the Frontier, for Lord Wei, inspired by a text by the Tang dynasty poet Hsueh T'ao, features an all-star international ensemble: Kang, Kenney, maverick Israeli conductor Ilan Volkov on violin, Icelandic cellist Hildur Guðnadóttir, and guitarists Oren Ambarchi and Stephen O'Malley. The piece is primarily composed of irregular patterns of pizzicato notes and guitar harmonics, gently falling in and out of sync and providing a subtly unstable support for Kenney's voice, which sings long, wavering tones, at times reminiscent of Michiko Hirayama's classic performances of Scelsi. Drawing on 20th century instrumental techniques, alternate tuning systems, non-western music and the experience of nature (the irregular rhythms of the piece calling to mind nothing so much as drops of rain), the piece opens a space both serene and subtly uneasy.
Kenney's 'Elm features Kenney and vocalist Nova Ruth (of Filastine & Twin Sista) alongside an ensemble of strings and Seattle's Gamelan Pacifica, performing on Javanese instruments tuned to the slendro scale. An uncanny timbre created by bowing the keys of the Gamelan's instruments, supported by bowed harmonics from the strings, is heard consistently throughout the piece. After a long introductory section in which this harmonic cloud slowly descends from shimmering high notes to rumbling bass, the vocalists enter, singing a slow and stately setting of a 19th century Surakarta poem (attributed to Mangkunegara the IV). The melody is sung as a rich and wavering heterophony, with the ensemble sometimes rising up to support individual notes. The poem deals with the idea of a form of knowledge achieved through deeds, as a practice and state of the heart. This is music in slow motion, in which, in Kenney's words,

A year after their impressive last album Burn It Down, Detroit techno legends Octave One are back with a nine track double EP that again shows they are masters of big hypnotic grooves.

Entitled Love by Machine, the album's name is a nod to the fact that the Burden brothers are such revered masters of their hardware. Both in the studio, where they cook up atmospheric house and techno with soaring synths and vocals and also in the live arena, where they are celebrated as one of the most accomplished and forward thinking performers in the game today. That is all the more impressive when you bear in mind they have been active since the '80s, most often releasing on their own 430 West label, which is where they appear again here.

Say Lenny: We've been exploring the theme of connection with this project. How technology gives us the illusion that we are closer to each other more than ever. At some point humanity crossed a line where the devices that we created to bring us together are the same devices that are blocking us from organic experiences.'

Technology is only a tool, which we also had in mind during the recording process.' Adds Lawrence. We decided to go back to how we used to make our records, when we didn't have so many 'sophisticated' audio devices. Back to when we interacted in the studio together as musicians.'

Things open up with the loose metallic percussive line that is In Mono, which sets the machine made tone and is filled with promise. Locator then immediately gets to action with a gallivanting techno kick and various synth lines wrapping round each other as you get sucked into the groove. Just Don't Speak (Midnight Sun Redub) is a more deep and house leaning track with big feel good piano keys and slithering synths that will get hands in the air. Proving they have real range, 7 B4 Dawn is a moody and reserved cut with subtle acid pricks, hip swinging claps and a spaced out dead of night feel.


The second half of the album offers peak time business in the form of the spectacular Bad Love II, the whirring and cosmic Sounds of Jericho and the big loops and fluid grooves of (Where) Time Collides. Pain Pressure is a wonky number with big bassline and a focus on percussive patterns as well as some vocals with real attitude and last cut 8 B4 Dawn ends things in a downbeat and sombre way with sad chords and emotive strings. It is pure Detroit, much like the whole album, and rounds out another fine release from these most revered veterans.

Call it future-step. Call it deep-step. Call it autonomic. Call it whatever you wish, but one thing is for sure - Hidden Element hailing straight from Kiev, Ukraine fail to make their music disappoint. With a fresh take on electronic sounds ranging from breathtaking beat-less layers to +/- 170 BPM heavy hitters, these two have been making waves in the industry for some time already, releasing on 22:22, Alphacut, Med School, Pinecone Moonshine, and Translation - to name a few. But it is Absys Records that is the home for their full-length album entitled 'Together'. The release is a collection of 13 amazing pieces of work, each hitting a slightly different tone, but making a wonderfully coherent whole. An entity that is enjoyed best when all of its components are played together, as the title suggests. The album focuses in majority on a rather home-listening experience, with tracks like 'Aura' or 'The Night' setting the pace for a pleasant evening chill and boosting the laid-back mood even further with "Quite Place" or 'Without You feat Kiyomi' - both infused with lovely vocals - that can serve well as modern-day lullabies. But there are also more lively accents ('Long Way Home with Physical Illusion', 'Who Knows'), traces of live instrumentation ('The Next Day feat John LaMonica'), or ambient ('Bridge'). All in all, you get a fantastic cross-section of contemporary electronic music, a masterfully composed package of nothing but pure listening pleasure.

Silencio, a new label out of Chicago, will debut its first release from new young talent Cirq'on titled the Other Side EP. On the A-Side, 'Screaming Around', makes its presence felt with a beefy bass line that periodically stacks and stutters throughout its progression. This track is impossible to resist. Even the most hardened scenester, the type of person who never dances in an effort to look cool, will be forced to cut a rug as they acquiesce to the bombardment of this pleasing beat. Peppered throughout with spooky vocals, tempestuous tones and mysterious snippets, it leads you down a path of rhythms that pushes past the point of no return. Similar to the first transmissions intentionally broadcast out into our universe for the purpose of contacting intelligent life, 'The Messenger' delivers on the B-side with layers of haunting harmonies that unfold over simple, satisfying drums. It's steadily driven by scintillating sounds in the form earthbased radio signals that rise and fall, as if bouncing off of orbiting space debris on their journey to the great unknown. This track is best described as a mind-exp.

Originally released in 2014, Luciano's 'The Great Amael' is an enchanting and endearing trip; a lo-fi bubbling groove and dusted Hammond organs that hustle along whilst live percussion cuts through the oceanic atmospherics. Two years on, and Cadenza Music call upon a brace of remixers to provide fresh and unique interpretations of this hidden gem in Luciano's catalogue. Having recently released his first album in over 10 years, Matthew Dear AKA Audion boldly steps up to the mantle and stamps his intelligent techno sound all over 'Amael' in the first of our remixes. Cutting a sprightly pace from the off, Audion melts stuttering sine waves and bulging tones over concrete beats, tweaking in the original organ riff and fathoms deep pads whilst adding additional vocal refrains as he playfully teases the arrangement before dropping a superb riff in his 'Backward Melody' Remix, which takes a most psychedelic and unexpected twist! Two other musical heavyweights collaborate on the second of the remixes; Phil Moffa and Seth Troxler are no studio strangers, having released a joint project on the British Hypercolour label last year, and remixed for Tiga a few months back. Their LSOS LOVE/GOD Remix builds from ambient beginnings, save for a rhythm carved out of spongy electronics, a sturdy beat kicking in and setting the controls destination unknown, as the duo steer through breathy vocal cuts and propelling bass, stripping the remix back before leaping back into hyperspace with some adventurous and dubbed out vibes, before coming back down for landing with those unmistakable pads from Luciano's original.

You Can't Defeat Her, When You Meet Her You'll Get What I Said B2 Marlon Hoffstadt - 2000MG Floating Info: Retrograde returns late September with 'In Reverse Pt.1', a various artist package featuring Matteo Luis, Natureboy Gold, Terron and Marlon Hoffstadt. Berlin based imprint Retrograde marks its fith release here and once again welcomes back a selection of the collective recording artists already featured on the label such as label head-honcho Natureboy Gold, FFRR/Play It Down artist Marlon Hoffstatd, also co-founder of the label and tipped as a Future Star by Pete Tong on Radio 1. Matteo Luis also makes a return following appearances on two EP's for the label prior to this, while an exciting addition to the catalogue comes in the shape of Terron, most notably known for their work with Young Turks sub-label WHITIES. Up first on the release is Matteo Luis' 'Out Here' setting the tone with ethereal pad swells, organic rhythms and choppy bass hits while a soft and brooding melodic tension subtly unwinds throughout the composition. Natureboy Gold's 'Eternal' follows and employs a similarly airy synth feel while introducing a robust tom- driven rhythmic approach to create an understated dance-floor focused contribution. Opening the flip is Terron's cryptically named 'No.57, You Can't Defeat Her, When You Meet Her You'll Get What I Said' which drops the tempo to a low slung feel with dubbed out bass licks, bumpy percussion and spiraling bass drones to create something idiosyncratic and psychedelic. Marlon Hoffstadt steps up to round off the package next with '2000MG Floating' delivering a raw energetic workout with soaring 80's tinged leads, snaking bass grooves and frenetic percussion.

The man behind the track that Move D proclaimed "owned the dome at freerotation" , returns with 3 new tracks of deep machine grooves, his first release since 2013's Analogue Mapping. "Frey'd" is built around a synth patch stumbled upon whilst conducting a test on one of bovill's machines with rennouned Synth engineer Frey Smith. Opening with playful ,bubbling analogue tones and nostelgic pads, before characteristic basslines, percussion and 303 lines join in, ending on a spaced out contemplative groove . " L.A.T. " is a more stripped down track, which ebbs and flows around subtle builds, tweeks, and delays, perfect for the deeper late night dancefloor. Closing the ep is Golden burn, the deepest and most dubbed out of the 3 tracks, sprinkled with emotive keys, and underpinned by distinctive bass lines.

THE ASSISTENZ is the culmination of a four year creative hot streak as vivid as any part of CRISTAN VOGEL's long career. The trio of dance oor-oriented records formed by 2012's The Inertials, 2014's Polyphonic Beings and now THE ASSISTENZ are sensual pleasures rst and foremost: a lifetime of study of frequencies and rhythms on the frontline of the world's clubs has been put into the creation of sounds that interface with the nervous system and emotional re- sponses with extraordinary immediacy. But there's much more too: together with the more ab- stracted album Eselsbru¨cke, these form an enticing sonic narrative, encoded themes running through them, each part revealing more about the whole. THE ASSISTENZ, then, is many things: a personal document, a tribute to Copenhagen where it was recorded and after whose famous cemetery it is named - but also the nal piece in this bigger puzzle, which unlocks untold secrets from the previous three records.

There's a deeper history, of course. CRISTIAN's productions going back to the start of the 1990s have woven their way into the fabric of underground culture. His own recent remasters of his early albums, and the Sub Rosa Classics 1993-1998 collections have shown just how potent his early work remains. But his new work exists in a very different world to those past works, and is far removed from the recent electronic generations who he has in uenced too. In fact, as you listen to THE ASSISTENZ, you realise that there's no point making comparisons with other elec- tronic producers at all. While you will certainly hear some of the most fundamental and enduring vectors of underground music - dub, electro, acid, funk - owing through the tracks, even those things are rebuilt from the molecular level, created completely afresh with new, precise, but some- what skewed vision.

CRISTIAN's understanding of music now is spectral. That is to say, with every step through his exploration of sound over the years, he has made more and more detailed analyses of the specif- ic frequencies that make up speci c sounds and produce speci c effects on the human mind and body. And as a result, his own sound synthesis - increasingly done via the Kyma programming platform - is more and more able to reach beyond the 'synthetic' and impact in uncanny and wonderful ways. The most obvious sense of this is the way his sounds touch on the human voice: not just in the chattering, shimmering, singing tones of THE ASSISTENZ's ghostly centrepiece 'Barefoot Agnete', in the alien radio signals of 'The Merman's Dream' or even in the subliminal 'aaah's hiding in the background of the noisy 'Vessels', but in the way any sound, anywhere in any track can sound peculiarly vocal, heard from the right angle.

And it's not just the boundary between human and non-human, or that between acoustic and synthetic, that get blurred to the point of non-existence. CRISTAN's creative methodology now is all about leaving you so uncertain about where anything came from, or what scale the sounds are operating on, that you have no choice but to let go of preconceptions and standardised criti- cal faculties and go with it. Sometimes that can take you to places where darkness and physical- ity close in on you as on 'Vessels' or 'Telemorphosis', or into haunted spaces on the edge of the void like those of 'Snowcrunch' and 'Barefoot Agnete', but even in those, there is euphoria. And in the voluptuousness of 'Hold' or the body-rocking funk of 'Cubic Haze', all the abstraction is grounded in the sheer pleasure of your own bodily responses to the sound.

So many of the science ction dreams of the 1990s are now (virtual) reality. We live in a time when social networks consciously manipulate our emotions, where data is money, where ma- chines learn, where images can't be trusted, and where the synthetic can feel more real than real. Over some 25 years, CRISTIAN's experiments have traced much of this weirdness and evolved with it, and his understanding of synthesis and algorithmic processes to create structure makes him one of the most important composers working today. But THE ASSISTENZ doesn't just ex- periment with the interfaces between mind, body and machine: it expresses those relationships in ways that are beautiful, troubling, moving and scary, and which even make you want to dance. Together with the preceding three albums it enacts a glorious, endlessly-explorable mapping of just what electronic music can do.

TS08 is the 3rd EP of the TONE SERIES project and in line with the previous two releases TS09 and TS10. However, its two tracks HAWAIAN JAM and 24 BAR PER DAY present rather refreshing grooves, right on time for the summer.

HAWAIAN JAM makes you feel like in a Jeep, driving around the Hill of Mauï while looking at the best waves. And whereas HAWAIAN JAM follows the rythm of cutting edge and caraibian slide guitars with a touch of reggae, 24 BAR PER DAY unveals jumping drums and druggie pumping sounds surrounded by bitchy voice cuts.

With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, HAWAIAN JAM and 24 BAR PER DAY distinguish themselves from each other through their vibes and colours, although they remain in the same spirit.

TONE SERIES was born from the collaboration between Villa's former bouncer (one of the most underground clubs of Berlin) - Wolfram, French music producer, live performer and DJ - David K, and LumièresLaNuit's co-founder and An der Grenze's
founder - Edouard. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality
comes out of colours.

Fuckthegovernment.Ltd, a.k.a. F.T.G (Alfredo Trastulli) and Music Box head honcho, Marco Riff, return to the Skylax fold in 2016 with a cache of house nuggets for our listening pleasure. Their last venture on Skylax saw F.T.G collaborate with a bunch of his friends, resulting in some of the best tracks we'd heard all year, including the unforgettable Fuckthegovernment theme. Their tracks have been celebrated and hailed by some of the best DJs in the game, names such as Derrick May, Ricardo Villalobos, Raresh, and DJ Harvey. The bar set by the first record remains sky high, and somehow, these two manage to raise the bar even higher. It may be the biggest cliche going when talking about an album, but the duo certainly do take us on a journey, through the past and present of house music. It's a record not too dissimilar in tone to Paranoid London's from a few years back, but F.T.G and Marco strip things back even further than those guys did, in our opinion; The sound is more raw with less frills, and no track names to predispose feelings in the listener either. This eight track project is cohesive and elaborate, with movements through sounds both acid and jazzy, minimal and maximal. It explores sounds that came to prominence in famous house locales such as Detroit and Chicago over in the U.S., but the underground European influence is definitely present, from Paris to Berlin, and of course F.T.G and Marco's home of Italy. With this album, these guys add to the underground sound that has cultivated in the city of Perugia for years now, a place that has seen the likes of Simoncino and Nicholas hone their craft.Don't miss out on a piece of Skylax history!

In the follow up to their recent 10 Year celebrations - Aus Music present another landmark signing for the label as they triumphantly welcome long term friend Paul Woolford into the fold. Few artists can boast of a catalogue as consistent and as evolutionary as Woolford and his latest offering for Aus - as ever - lands right on the mark in delivering a beguiling trip split over two sides of vinyl. 'Heaven & Earth' is a rich and elongated House record that contrasts bright orchestral melodies with thick, tearing bass tones. Together - these two primary elements create a fervent sense of tension that no doubt will soundtrack countless memorable dance floor moments over the festival period.

Alleviated Records is proud to present the first edition of ''Underground Files''. We hope to introduce you to new Artists/Producers/Technicians with this series. This first edition includes selections by 2 Memphis-based dj/technicians/producers, Adam Arthur and Michael Kuntzman. Side A features Arkansas native Adam Arthur starting off with ''Rogue Intent''. If you're looking for radical-pumping house, look no further to get your crowd going crazy on the dancefloor. Next, we change the flavor a bit with ''Flamenco'' for when you need some downtempo warm seductiveness. Side B features 2 selections from Memphis dj/producer Michael Kuntzman. First up is ''Shutter'' with a bumping sci-fi-house flavor. Then we have ''Mondane'' with a pumping abstract-tribal-surreal tone. We hope you enjoy these for many years to come! Musically yours!

Not even a month has passed since Sierra Sam and Pascal Hetzel ´s CYRK project launched with the high impact homage 'Tribute' and they return with yet another respectfully rooted release.
Channelling the energies of Detroitian agenda-setters such as Inner City, Joey Beltram and Scott Grooves, CYRK celebrate the original template and ingredients that have gone on to inform every genre that's since passed. Easy to say... A dark art to master without repeating something that's already been done before. Safe to say that CYRK definitely have that art mastered...
Its deft ping-pong riff echoing through classic detuned synth tones and unrelenting beats refusing to stop even for the honeyed evocative tones of singer Christine Eusebio , 'Fantasy' is one of those tracks you'll feel you know but also understand its freshness instantly. The type of track that gets crowds grinning like Cheshire cats the second it pops on... Even though they've never heard it before. Rooted in history, coded in innovation, it's more proof that CYRK's three-headed formula is better than one.
Remix-wise both Pascal Hetzel and Gerome Sportelli remain in Detroit: Pascal looks towards the likes of Mills and UR's 'World Power Alliance' phase for inspiration with his heads-down, militant techno aesthetics while Gerome conjures up sensations of Cybotron and The Preps with his slinky, ice-edged electro adaptation. Both versions take Christine's surging, sensual vocals to new creative pastures... And they've invited you to do the same with the acapella version, too.
Celebrating a legacy while keeping it fresh, CYRK remind us where we've come from... And where we're heading.ind us where we've come from... And where we're heading.