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For their latest slice of saucer-eyed Balearic perfection, Leng Records has looked to the North East of England for inspiration.
Lizards is a freshly minted project from Newcastle-based twosome Lee Forster - better known as one third of Balearic house combo Last Waltz, whose impressive releases have appeared on World Unknown, Futureboogie, Endless Flight and Is It Balearic - and long-time friend James Hadfeld of Nein Records' Elizabeth Collective. Despite writing music together on and off for the last 15 years, the duo only made their debut this month. As frst 12' singles go, their Tanni EP on Not An Animal was something of a gem, and featured two winding, ear-pleasing chunks of dreamy, sun-kissed Balearic disco loveliness. Their Leng debut is just as strong. A-side 'Frontier' sets the tone, layering bubbly, psychedelic electronics, vintage synthesizer arpeggio lines
and strummed acoustic guitar riffs over a head nodding, 102 BPM drum machine groove. By the time the jammed-out, eyes-closed electric guitars and jaunty synthesizer melodies come in, you'll be lost in the music. Flipside 'Coming In' stares at the sunset wistfully, effortlessly capturing the twilight humidity associated with lazy Croatian festivals and beautiful Bali beaches. Analogue synth lines futter in the breeze, whilst picked guitar lines,
spinetingling chords and a druggy bassline move the action forwards at a pleasingly loose and groovy pace. Go on, hug a stranger; after all, we're all friends in Lizards' baggy, melody-rich world.

3 Banging acid tribe tunes and one mental hardcore Explore Toi / Base Mobil jewel. Best tune here.

After the first Ricardo Tobar remix edition (featuring remixes by John Tejada and Fairmont) on Cocoon Recordings we are proud to present the next chapter with remixes by Lawrence and Midnight Operator (Mathew and Nathan Jonson). 2016 seems to continue as we started it: With high quality music by great artists presenting us amazing techno in an unique and tasty style. Midnight Operator, the joint project of the two Jonson brothers, picked Tobars Angora' for their remix and the result appears very fresh and housey. Their bassline programming adds a nice italo-disco vibe to their version of Angora". Together with their strings and melody-parts the Midnight Operator remix is turning into the perfect soundtrack for the upcoming spring nights: We hear flowers, birds, butterflies and feel the warm air ... not to mention that our feet start moving and dancing. Dial mastermind Lawrence contributes the fourth remix to Tobars album: His version of Red Light' explores the emotional side of techno and house. We dive into deep spaces, spheric melodies and an atmosphere close to the vibe of the great works of Kraftwerk - this is impressive! Lawrence Red Light' version presents the musical side of techno to us - a timeless piece of music with a chill-out flavoured beat and synth programming.

he second time around: fred p aka fp-oner is back on mule musiq with another record that demonstrates the many cosmic qualities of his deeper shade of soul.
it is the second part of a trilogy that features his detailed sonic landscapes that are full of mystery and power. while his last fp-oner album 5' was leaning more to the jazzier, relaxed and atmospherically side of his artistically deep house expressions, the runner-up grinds even deeper into spherical worlds that enhance deep meditative highs.
they are not made for club use only. in fact all eleven compositions work also massively without big speakers. again the new york city native that is working on his very own music for almost 20 years produced a journey inwards that is compelling, mesmerising and enchanting.
you find cosmic dust in it as well as dark entropies, percussive power, sweet seducing melodies and rolling bass power that shakes your inner and outer profoundly. the tracks are listening to names like awakening co creator', alternate reality' or adjusted perception' and the album title 6' stands for a meaning,
that fp-oner describes like this: 6 represents the number of man and his or her limitations, weakness and imperfections.
this body of work examines and looks towards one awakening. adapting to a new way of being creating an alternative and reaping a higher state of mind and being. enhanced by love and serenity, satisfaction and joy.'
all tunes are produced around the world, as he is a guy who never stops feeling in sound. that is why he caries his studio around to get up in the middle of the night or right in the morning after a sweaty party to transfer his emotions directly into sound. the result is massively powerful music with slow, intimate passages for treacly melodies, stirring synth-lines and little rhythmical quaintness.
an almost lyrical house journey that works like a musical sculpture in which organic machine grooves float along keys on air. the evolution of the each track is impeccable and their power grows with any new listening session. fp-oner himself characterizes his art like that: 'my music is designed to enhance deep meditative, or altered states, to allow the listener to personally connect to the creator of all that exists in the universe.
my music style is to first create a foundation using cyclic, polyrhythmic music, then build several layers of improvised leads and rhythms that allows you to transcend time and space... we have memories of past lives that reverberate in our hearts like echoes from ancient caves'.
there is nothing more to add, except that those who do not know fp-oner so far should know that he danced in his younger years in legendary new york city clubs like the red zone, sound factory or tunnel to dj sets of larger-than-life selectors like david morales, frankie knuckles or danny tenaglia.
during those nights he learned that sometimes less is more. and that he should rather listen to your heart and soul, then to the susurrus of the music market. most of the eps and albums that he produced under his other monikers like fred p or black jazz consortium have been released via his very own label soul people music, which exists since more then ten years.
as fred p he also dropped 12inches on jus-ed's underground quality imprint as well as on toshiya kawasaki's mule musiq label. for the latter he now is working on a trilogy under the fp-oner alias. this little paper introduces the second part of it. the final one will hit your heart and soul in an unwritten future. whatever circumstances of life will be around by then: you can be sure that fp-oner will transfigure them into a dynamic emotional and spiritual terrain.

The Earth was incessantly covered in ice, it's landscape an immense, frozen desert. Boulders and sand washed to the valley, crushed under the glaciers' enormous weight, leaving nothing but the hardest rock behind.'
Neunau draws inspiration from natural phenomenons, sculpting his indelible and furious expression into materials: a ritual guided only by the rhythm of his own heartbeat.
Composed exclusively of sounds recorded at the ancient forge museum in Bienno, in the middle of one of the largest valleys in the central Alps, Neunau presents an experience that goes beyond simple listening. His tools — water, iron and microphones — are used to transport the listener through time and place. A true voyage through forgotten ritualism and symbolism, these extracts aim to grind contemporary dance music to its barest essentials, making long-lost times ours again.
Neunau is the debut EP from Sergio Maggioni's Neunau, released by Parachute on 12" vinyl

Janette Jnett Pitruzzello is considered something of a legend in her home city of Melbourne, where she's been DJing for well over two decades. Here, she delivers her debut solo EP, featuring a quartet of tracks co-produced by Maurice Fulton. The latter also delivers a solo mix of opener Reflection", which adds a little leftfield disco sparkle and percussive sweatiness to an otherwise organ-heavy deep house groove. There's a similarly cheery, funky and disco-tinged feel to the rolling, cut-up house goodness of Swangzipani". Elsewhere, the duo gets a little stranger in pursuit of dancefloor thrills, Bubbles Away' is deliciously dark, wonky and intergalactic, while Judge Not' wanders off into head-nodding, instrumental hip-hop territory.

Igor Jadranin takes no prisoners with the ttle track of his EP - the monumental 'Boulevardd'. This slice of dirty and distorted techno jazz leads you into a very dark place flled with relentless piano breaks punctuated by an unnerving single note string.
'Hero' is beautfully crafed with a staggered beat covered by a layer of synths on par with jazz fusion
great, Ronnie Foster. A killer break down leads you back into the deceptvely simple beats. For those that like their beats broken, the Mr J's mix of 'Middle Proves' tcks all the boxes. Vocoder
interplays teamed with synth, efects and chopped vocals.
Mr Beedle steps up to the plate with his 'North Street' mix of 'Middle Proves' aided and abeted by Darren Morris and Jo Wallace on producton dutes. Mr Morris's keyboard skills come to the fore with some lush, jazz tnged piano and the vocal interludes pay homage to the infuence of UK Garage legend
Todd Edwards.

'Nothing' is Kode9's first solo album and is about nothing. The album throws horror soundtracks, sampled library and j-pop records into a no man's land between grime, early dubstep and Chicago footwork. Mostly instrumental, it zigzags between hypnotic, downcast loops, growling drones, and jagged cut-ups of androids gone haywire, threaded through twitchy, transatlantic rhythms and sub-bass inaudible through your laptop speakers. Building slowly, but more upbeat than previous albums, many of these tracks have more in common with Kode9's recent singles from the last few years than they do with his two previous albums with collaborator The Spaceape, 'Memories of the Future' (2006) and 'Black Sun' (2012). Yet 'Nothing' is haunted both by The Spaceape's presence (he died in 2014 after a prolonged battle with cancer), on 'Third Ear Transmission', a communiqué from a zone of digital immortality, and his absence, on 'Void', whose spaces were originally intended for the vocalist, and 'Nothing Lasts Forever', which closes the album with a 9 minute silence. Now confirmed for release as a double-LP, the initial run will be a limited edition pressing on glass-effect translucent vinyl, housed in a high quality gatefold jacket and inner sleeves displaying Optigram's remarkable artwork to its fullest effect. Also included is a complimentary mp3 download code.

In 2006, Tim Arndt released the first Near the Paren- thesis album "Go Out and See". Arndt had intended to follow up that release with a more beatless ambient album, where percussion was left to the side and com- position took center stage. A shelved Idea that we now get the benefit of a full ten years later.

This new album Helical is the realization of Arndt's stripped down ambient concept. Helical features Arndt's characteristic experimental modem classical instrumentation and compositional style, but slows things down and stretches them out. The focus on the organic is clear, but moments of ethereal breath weave in and out and prevent the album from becoming too self aware.

Helical, as a loose reference to the geometric structure of our very DNA and it contains themes that are driven by a recent discovery of Arndt's past and ancestry. The release seamlessly stitches all of these concepts together and marks an unique release and new direction for Arndt's Near the Parenthesis.

Helical will be available in limited transparent coke bottle green and opaque grey vinyl flavors as well as compact disc on May 20th.

-7th album from bay area experimental composer Tim Arnt.
-Limited Grey and Coke bottle Clear Vinyl
-Near The Parenthesis has 3 tracks with over a million plays on Spotify.

Debut LP of Manuel Carvalho, half of Paralaxe Editions, under his Manta moniker, after a self released CDR and a tape on Marvellous Tone. Inching a few steps towards the dance floor, 'Citadel' revolves around notions of space and its emotional resonance within the human psyche, conjuring visions of Detroit Techno or early Warp into a Ballardesque dream of hazy synth lines, layered percussion and glassy textures. Over six tracks, Manta ebbs and flows seamlessly from the neon lit utopias of 'Kayseri' and 'Grid', through to the paranoia infused thumping rhythms of 'Citadel' and 'Blackwater' and into the synthetic tropics of 'Ghost' and 'Grid', all the while creating a headspace where Juan Atkins, B12, Porter Ricks or Black Dice all fit within the same dimension.

Who would have thought that Gerd Janson and Phillipp Lauer, aka The Tuff City Kids, delivering a 'Rocker' mix for Alter Ego, wich is not only one of their best up to this date remixwork, but also probably one of the biggest electro-summerhits in 2016. The Tuff City Kids production work is quite similary eclectic like in Roman Flügel and Jörn Elling Wuttke's original version. They know exactly how to juggle with different styles, until they come up with a fresh new sound that transforms an ordinary rave into an unforgettable happening. In this case they are mixing real performed krautrockdrums, 90's prototrance-balearicstrings and an unexpectedly new, enthusiastic way of working with Alter Ego's trademark melodyhook. This melody-theme is dripping formally out of every programmed bass and synthesizer line without beeing to cheesy, superficial or over the top. Even their 808 electro-remix for the track Gate 23 is keeping to the premise of the legendary New York punk rock band The Ramones, that a good party track should not illustrate the effects of psychedelic drugs, the music has to be the pill itself. The rich details and playfulness of the mixes are showing Gerd Janson and Phillipp Lauer as real fans of the original versions.In the same spirit, they are trying to melt pop-appeal, art-sensibility and clubhit-function in one piece of vinyl.

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

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Killer LP that mixes elements of zouk and tropical influences from the French West-Indies, with heavy disco and funk flavors. Tip!
Crystal was an 8 piece combo from the French West-Indies islands led by Franck Donatien. Gifted guitarist and composer, Franck Donatien had a few experience leading band projects such as Crystal, Lazer or Taxi Créole, and is mostly known and respected for his long and prolific career as a musicians for many artists from the local zouk music scene.

With Crystal, he released 2 albums between 1984 and 1985, both today very hard to find and famous for including some amazing tracks. If Funky Biguine, Crystal's second album, is mostly a 1 track LP with few other moments, Music Life is truly a brilliant album from first note to the last, including climax titles such as Music Life', or Santo Domingo'.

Favorite Recordings makes this forgotten treasure available again for all. Fully restored and remastered with great attention to sound quality, Music Life by Crystal is presented in a deluxe vinyl replica, and digital versions.

Die in Genf lebende, in Lyon, mit Vorfahren aus Kamerun, geborene Emilie Nana ist ein Wunderkind. 'The Meeting Legacy' beinhaltet eine eklektische Selektion, die Vieles von dem beinhaltet, was Emilie ausmacht.

'The Meeting Legacy' umfasst 11 Stücke, inclusive Like You, welches bereits Anfang 2013 auf Compost Black Label als Maxi veröffentlicht wurde. Die Black Label # 61 wurde digital veröffentlicht und die Black Label # 95 gibt es auf Vinyl. 2013 war das eine von fünf EPs, die Emilie Nana bis dato herausgebracht hatte. I'm Childish, So What!, was erstmals im Sommer 2015 als Teil der COMPOST 500 - Compilation zu hören. Dieses Juwel ist von Emilie's Neffen inspiriert und basiert auf der Idee, dass wir, egal in welcher Lebensphase, stets zu uns selbst stehen sollen. Es ist der einzige Track auf dem Album mit französischen Vocals und vermittelt ein getragenes, leicht verrücktes, regelloses Gefühl, ein absolut fantasievolles Glanzstück. Drei Stücke des Albums: Tolstoy' Changes, Music und The Meeting Legacy, werden 2016 als Compost Black Label - Remix - Maxi erscheinen, mit Remixen von Manoo, Beanfield & Thomas Herb, Floyd Lavine.

The Meeting Legacy, der Titeltrack des Albums, ist purer Musik-Aktivismus. Der Text stammt von Elaine Brown, eine schwarze amerikanische Aktivistin und Künstlerin, Vorsitzende der Black Panther Partei. Der Bass dieses gemächlich stolzierenden Kampfsymbols ist Nana-esk und die Vocals heben sich mit Leichtigkeit ab und positionieren diesen Track auf ergreifende Weise.

Black Like Me erhebt einen fortwährenden Anspruch auf Fiktion und Non-Fiktion und verkörpert die gelebten und kenntnisreichen Erfahrungen Emilie Nanas. Eine warme, melodiöse Kreation, mit einfachsten Lyrics und im Hintergrund dümpelnden Marimbas. Es ist die musikalische Interpretation des Buches 'Black Like Me' von John Howard Griffin. Er erzählt hier die Geschichte des weissen Journalisten, der sich einer Hautverdunkelung unterzog, um sich im schwarzen Leben des separierten Südens der U.S.A. zu engagieren. Emilie's musikalische Interpretation erfasst die bunten kulturellen Äußerungen, welchen der weisse Journalist im gelebten schwarzen Alltag begegnet.

Track Fünf des Albums, dem inoffiziellen 'letzten Track von Teil 1' heist Confessions Of No Language. Während Emilie Nana hier ihre innersten Erfahrungen transponiert, oder transportiert, zielt sie auf eine 'gewisse' Körperzone. Welche Das muss man hören.

Das Album beginnt mit Off The Street, die wilden Begleiterscheinungen einer durchfeierten Nacht von Party-Girls, geht weiter mit dem, durch die frühen 90er Jahre von Janet Jackson und Prince beeinflussten Music, bei dem wir Emilie Nana sehr warm und cool erleben. Schliesslich entdecken wir sie in Inward Path, wenn sie resümiert, dass es mehr Glücklichkeit als Traurigkeit gibt, da immer Hoffnung in uns selbst existiert.

Dieses Werk erfreut sich an dem Erguss aus Nana's grazilem und dennoch lebhaftem Wesen und trachtet erfolgreich nach dem Brechen der Regeln, mit denen Kunst oft behaftet ist. Indem sie ihr Leben vergegenwärtigt, führt sie uns gekonnt, mit Kindesaugen, Teenage-Erfahrungen bis erwachsenen Sehnsüchten und ausgereif-ten Konversationen, durch Subkultur, Kampf und verschiedenen sozialen Einflüsse. Nach vier Jahren Produktionszeit, liefert Emilie Nana ein Album, das ihr verspielten, aber reifen Geist widerspiegelt und ihre Seele miteinbezieht, The Meeting Legacy.

Nearly a year after his acclaimed debut EP, 'Every Inch of You', a musical project meant as an ode to the memory of a once great man, his Grandfather, the enigmatic, Rosas Nievas, steps up to the plate with a sophomore outing for Scissor and Thread, Going Away Soon' On the A-side, the bombastic opener, wastes no time getting its feet moving with charged up percussion, guitar licks, and playful sampling with a clear ode to the likes of Matthew Herbert. Nearly Lost You, Though' sees Rosas Nievas pair up with the singer Poppy Roberts on an emotional house jam primed for a peak time lovers rave . A rock steady kick and shuffling percussion are the anchor, as smooth pads and ethereal, hypnotic vocal snips swirl around the listener before the singer's voice emerges forward with a heartfelt, soulful ode. The b-side takes things down several notches with the funky and loose, Roses are Dead, Violets are Blue,' a hypnotic rhythm cycle flanked by a powerful bass line a reverb-laden piano and a sax ensemble emerging as we are lead with eyes closed on a euphoric early morning dance ritual. The closer, Edge of Keys", continues the shuffling rhythmic patterning of the latter track, but couples with a loose form Rhodes piano, finishing off the EP on a gentle tone, as if coming to terms with loss, bittersweet and full of joy.

Soma's Italian connection, Roberto Clementi, makes a welcome return opening his 2016 account with the solid, Wall Of People. Including a top notch remix form Ilian Tape label heads, Marco & Dario Zenker. Robert has slowly been building his credentials in the Techno world with some fine releases and this driving number is another to add to increasing discography with Soma.

The Zenker Brothers remix opens the EP as the Munich based duo lend their deep and highly refined production talents to Wall Of People. Ruptured beats play havoc with a shimmering high end and rattling percussive elements all tied in with a pulsing, modulating synth hook that keep the track feeling fairly dark. Clementi's original shows a much harder edge to his previous work with big, sub heavy beats worked around a more pumped up rhythm and tearing synth line

Ambient techno exponent, A Sagittariun, fires off another full-length album transmission this April on his own Elastic Dreams label. 'Elasticity' is the Bristol based artist's second long player, and the follow up to his acclaimed 2013 debut, 'Dream Ritual'. Having last released a trio of singles in early 2015 (for Hypercolour, Secret Sundaze and Elastic Dreams), 'Elasticity' marks a return for A Sagittariun, and fans of the slippery and elastic sounds that hallmarked his debut album will not be disappointed. 'Dream Ritual' helped firmly establish A Sagittariun as an artist whose musical chops and integrity operate largely outside of the mainstream and a producer who chooses to put the music firmly center stage, whilst opting to remain relatively anonymous within the music scene. A Sagittariun explains, Elasticity was recorded over quite a short period, but the sketches and ideas have been germinating for some time, so sonically it's very coherent and consistent and moves in a way that I personally like albums to move in, with a narrative and flow that holds you right to the end. The recipe for Elasticity was always to be malleable and pliable with the sounds and tempos, for me it's all about the listening experience, and creating a landscape and a world within that one can really get deep into and explore, it's optimistic and progressive music for the head, heart and feet. I really do advise the listener to don headphones and take the trip with me".

The BTRAX records label is back after few years off, and we are sure that new EP will not disappointed you. We are very proud to put out 1 stunning track made by one of the label artist : Camille Rodriguez from Paris - France.Electronic music drives his life for over 10 years now, he has developed his own style incorporating all his influences. He is passionate about the live, and create that way with synthesizers, sequencers, BAR and samplers... He likes pushing himself sweating behind his machines, improvising at every moment, keeping control of every sound in order to play more intuitively, getting a better communication with the crowd...
'Andalusian 2.0' comes in two guises, the Original Mix which delivers some perfect techno keys and claps over its stomping techno beat, giving it live performance style flavor. The Traumer Remix takes it into darker warehouse territory but still retains the warmth and groove. Kaine's Remix delivering some tough dub techno workouts that still have just the right amount of funk and groove.

In autumn 2015, Swedish dream-pop duo Korallreven bid us all farewell by releasing the "round-the-world-in-a-day" sounding final single Here In Iowa, alongside memorable shows in New York City and Scandinavia. Now, they return for one last time with a disco dub dream remix of said song by the mighty Peaking Lights. This forms part of a 12" EP released by Be With Records. The record - limited to just 500 copies - will see its worldwide release for Record Store Day on 16th April 2016.

The 12" will also, for the first time on vinyl, include Korallreven's breathtaking cover of Guns & Roses' November Rain from 2014 as well as Shine On, the duo's rework of their own 2010 single Honey Mine, featuring Taken By Trees' Victoria Bergsman.

From the guys:

"Hard to say if Here In Iowa was an end or a start of something new. You'll see! Whether or not, we hold it as one of our highest heights and, after this beautiful season, we truly deeply madly felt that it was worth some extra limelight. And hey! Thanks for the remix, Peaking Lights! It's so wonderful! Life surely is."

To celebrate Record Store Day 2016, Claremont 56 is proud to
present something rather special - a killer single-sided release whose origins are shrouded in mystery.
'Tropic Of Capricorn' arrived at C56 HQ with little or no information. While its' humid sound effects and glistening, unfurling melodies evoke hazy memories of Mediterranean sunsets and Adriatic sunrises, the track's creators live East of Ukraine, in the colder surrounds of the Russia.
Regardless of who made it, you'll struggle to fnd a single that's quite as warm, tactile and seductively groovy. Built around a hypnotic, slo-mo groove, 'Tropic of Capricorn' soothes and sedates from start to fnish. Its' ingredients are relatively sparse - think gently undulating beats, toasty chords and an electric harp that gently ebb and fow like the waters of a mountain stream - but the results are nothing less than stunning.

Eleanore Mills is a classic Soul singer with a sweet and sophicated voice, who recorded her debut album 'This is Eleanore Mills' for the Sylvia Robinson's All Platinum subsidiary Astroscope in 1974. The album has a broad range of Soul and early Disco/Soul cuts. It did not sell in vast numbers on its initial release but has become heavily in demand in the last 20 years and appeals to a broad spectrum of Soul and Disco collectors and DJ's.. Original copies are highly collectable and in mint condition now sell for around £300- £400. Eleanore went on to record with Norman Connors on his 'This Is Your Life' album in 1977 (recently issued on CD by Soul Brother) and then developed into singing Soulful house having a huge record with 'Mr Right' in the late 80's.

2016 reissue of an earlier album by Apparat, aka Berlin's Sascha Ring, who's also singing in Moderat, originally released in 2007.

"Apparat has had one hell of a year. His collaboration with Ellen Allien, the critically acclaimed album Orchesta of Bubbles, forged electrifying new connections between techno, electro and pop music. They developed the material into an electrifying live show that wowed clubs and festival audiences the world over. Apparat kept honing his solo show at the same time, delivering a powerful electro/techno laptop attack that would leave crowds twitching in its wake. And somewhere, in between all those activities, he managed to record Walls, his first solo studio album since 2003's Duplex. Despite its title, Walls isn't about dividing lines. Instead, it describes a circle that pulls many elements together into a protected, enclosed space where they jostle and roam free: strings and mallet instruments; rock guitar and gravelly sawtooth synths; stuttering digital percussion and muscular studio drumming."

We here at L A MISSION like to whip out our politics in public. We kinda get off on it. And so we're especially excited to slip you B EANER' s first solo outing on the label . From track titles to sound samples to magazine articles to packaging, this record / magazine / performance package highlights im/migration, the brown experience, and stripped identity. La Mission knows from brown. The collective is run by a crew of devastatingly handsome deviants whose racial identity is, well...it's complicated. We've lived our lives being neither white enough nor brown enough to fit neatly into racial categories. And so we took some time out from our usual exploits (like our MultiDirectional Playground Tire Swinging' orgies and Elected Candidate/Dead Pig/HungerGames slashfic) to focus on brownness. People started talking about cultural appropriation' when Miley Cyrus started twerking. We couldn't throw shade fast enough. But cooptation and exotification runs rampant in all genres of music-including dance music. We here at La Mission feel pretty fucking awkward about it. We've seen queerofcolor culture turned into whitedudebro business ventures. And as brown folks with stripped and fragmented identities, we're never sure of what culture is ours to use and abuse, anyway. Can we honor our own roots if they're messy and broken When we're inspired' by the music of other cultural groups, is that solidarity or stealing Nothing we have is whole. We can only work with the fragments we have at hand, well aware that there's unfinished business... BLACKMOUTH is the live version of the classic soul/disco sampling house tune. Take the work o f o t h e r s w h o c a m e b e f o r e y o u a n d t u r n i t i n t o a d a n c e a b l e j a m . G O T B L U E S u s e s t h e w o r k o f a b l i n d 1930s blues bongo player to form a weirdo repetitive rhythm tool: another example of using a forgotten artist for one's own gain.

Mit seinem 4. Release ' Introducing' auf Zaijenroots präsentiert Matt Nowak ein herausragendes DJ Tool für ein breites internationales Publikum der Elektronischen Tanzmusik. So verschieden wie die Künstler selbst, so verschieden sind die 4 Tracks. Toyz on Acid - Hawaiien Teacher, Das mysteriöse Duo mit einprägsamen Namen kreierte eine narrative Techno Hymne, die mit Sicherheit in die tiefsten Tiefen der Darkrooms der Clubwelt vordringen wird. Eine punchige Sp1200 Kickdrum und ein düsteres Rauschen wird immer wieder unerwartet mit futuristischen Sounds und einem treibendem Shaker begleitet. Ein innovativer Dancefloor Kracher! Must have! Heroine from Venus mit Sabine Hoffmann ist eine acosmische Reise mit treibendem Breakbeat und knackigen Snaredrums. Warme sphärische Synthsounds unterstreichen die anmutige und heroische Stimmung dieses Tracks. Matt Nowak und Apoena aus Brasilien haben mit Dub Rout' einen Big Room tauglichen Dub Techno mit Primetime Qualität geschaffen, der sicherlich kein Tanzbein still stehen lässt. Durchgehende Hats und eine extrem punchige Bassdrum machen diesen Track zum perfekten DJ Tool. Happy Handsome von Matt und SRA SRA rundet die Platte sehr gelungen ab. Ein melanchoilisch, treibender Techno Track, nach Zaijenroots Manier. Die klatschende Snaredrum und deepe Moog- Bassline, bringt die nötige Wärme auf den Techno Dance Floor zurück, die heute leider so oft fehlt.

Gari Romalis and Lello Di Franco - Dreamin For the uninitiated, our man Gary Romalis is the unsung master of Detroit's house and techno scene. Having DJed across the motor city's top venues for the last three decades, Gary is somewhat of a seminal figure for many of Detroit's DJs currently at the forefront. Following a slew of high quality releases on various labels over the past few years, Gary now unleashes that special flavour on us for SKYLAX 142! He is not alone though. With him, he brings all round Italian partymaker, and top selector in his own right, Lello Di Franco. Let me tell you, this duo's collaboration is something to behold. Throughout all 3 tracks on the record, Gary and Lello maintain the essence of what the Detroit underground is all about; stripped back tracks with soul that never feel like they go 'big' for the sake of it. While Dreamin (Wanda Mix) may be packing a big kick and power clap combo, it's the elegantly filtered, jazzy sample that will leave you wishing that the track lasted forever. The vibe takes a dip right into the deep in Detroit Underground (Beat Dat Mix). Spacious pad synths alongside a mesmeric vocal carry us through. Taking a step back up, Afrobeat rounds off the EP, made with a solid toolkit of afro-centric samples.

Art thou ready Straight fire coming from Total Science, Phaction and Fokuz Recordings stalwarts Malaky, Satl and Silence Groove. On the A side long time drum & bass veterans Total Science flip Phaction's ''Stratos'', released early 2015 into a hypnotic, soulful groove with a bopping bassline, delayed piano cuts and vocals.

Next up are Fokuz Recordings regulars Malaky, Satl & Silence Groove. Already making a name for themselves individually they now team up on ''Skyfall'' delivering an infectious, heartfelt slice of soulful drum & bass. Good vibes all around but then again, would you expect anything different from us We think not, go and cop that!

The obscure Batongo is back with his fifth EP. Three tracks so close and yet so different: a candid peak into sins and temptations, a eulogy to the erotic world of clubbing and finally a debate on a society close to collapse.

Three cuts of heady, cerebral bliss guaranteed to push any dancefloor a little further out into the interstellar,In Russell's hands, Clay Wilson's "E4" becomes a spaced-out stepper's delight. His rework of Romans' "Coptos" lets the acidic undertones of the original run free while snappy percussion holds focus. And while we're not one to pick favorites, Russell's remix of Zemi17's "Rangda," stripped to its bare essentials, is almost a purer representation of the original than the original itself, designed to lift a willing crowd into a trance state.

15 prime slabs of mid-60s USA garage punk MISERY - garage punk SADness in GATEFOLD SLEEVED luxury with liner notes, band photos, label scans. (NOTE: This is an entirely NEW series and NONE of these tracks were on the old series 'GARAGEPUNKUNKNOWNS'.) The Other Side "DARK SIDE", The Pastels "HOW MANY NIGHTS", The Toads "STAY AWAY", The Henchmen "SHE STILL LOVES YOU", The Night Walkers "STIX AND STONES", The Time Takers "LOVE ME LIKE YOU DID BEFORE", The Night Riders "SHE WON'T MISS YOU", The White Angels "BUT HE NEVER COMES BACK", 24. We The People 'ALWAYSLIES', The Dominions "I NEED HER", The Saxons "THE WAY OF THE DOWN", The Sonics "YOU DON'T HEAR ME", The Mystics "ORPHAN", The Vacant Lot "HEY BABY". The Squires "WHY OH WHY"

You can call them a »supergroup«, but Moderat understands that it's the »group« aspect that makes them interesting.

Gernot Bronsert, Sebastian Szary (aka Modeselektor) and Sascha Ring (aka Apparat) have been working together as a trio almost as long as their two separate projects have existed. We've seen their collaboration grow from »laptop boy-band,« (as Ring playfully puts it) in 2003—with computers synched using software Ring himself had written, because at the time, »there was just no live performance software around.«

Ring confesses that Moderat wasn't »really meant to be a recording act ,« with Bronsert agreeing that, »it was really just about fun.« This maybe explains the six-year break that followed Moderat's first EP before they finally returned in 2009 with their selftitled debut album. Intent on creating something that contrasted with their own projects, the group started the cycle which blossoms on their second album, aptly titled II, culminating now in the trilogy's completion, III. Whereas I was the combination of two separate entities, II brought the members closer together, and in III, the final chapter in the trilogy, Moderat sounds like one band.

Both Szary and Ring will tell you that Moderat moved progressively from making tracks towards a more traditional writing approach of making songs - a process more fully realized on III. That's partly why the vocals have become more prominent. Mostly, you hear Ring singing (there are no guests this time), as he so often does as Apparat, but listen closely to »Ghostmother« to hear Bronsert and Szary backing him up. Stepping out of their comfort zone is the kind of thing that helped create their interplay between pop and electronics; doing it right won them the Resident Advisor Best Live Act honor as early as 2009, and they continue to gain popularity while remaining independent and underground.

Szary describes the idea behind Moderat as, »imagin(ing) yourself sitting in the cinema and watching a movie with an incredible soundtrack.« This is true with Moderat in general, but III in particular pairs an emotional pull with sensual imagery, creating dynamic sound and depth with lyrics such as »the calming scent of lavender fills the air,« or »burning bridges light my way.« You'd have
to ask them whether they're intending to manipulate the listener in the same way that John Williams or Hans Zimmer might with traditional orchestras.

One of the best parts of Moderat is their use of electronics to achieve orchestral diversity. They update the songwriting tradition with an intriguing palette, borne of careful attention and skill, informed by their »experiences with sounds of nearly 25 years of suband club culture.«
Let's not forget that these three were brought together by Berlin's now legendary rave scene. With this as their common foundation as individuals, III signifies Moderat's maturation in modern pop — an achievement shared under their collective belt.

Bronsert explains that, »the new album isn't based on jams. We went into the studio and knew exactly what we needed to do.« This is reflected in the sophisticated themes explored in the music. Take »Ghostmother,« which ponders inner peace, acceptance, fear of the unknown and how facing that fear often reveals something not so scary. Or »Running,« which is about being part of a mass that constantly needs to move to function, but doesn't have the power to decide the direction of motion. Or how about the wisdom of »Reminder,« which recognizes the world for its flaws and our role we've each played in that, but choosing to act differently and light the way to something better.

Given that, it's a bit of an understatement when Bronsert says, »I'd say our music has definitely matured.« Successful in their own endeavors, now they've mastered the »group«. It doesn't mean the end of Moderat, but it does mean they'll have to find something else to excel in.

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The first Late Night Tales release of 2016 is a very special project by Sasha.

Imagine listening to music inspired by Frahm, Richter and Steve Reich, but made by one of the UK's leading house and techno DJs. Away from the hubbub of the club, the craziness of Ibiza, there's a contemplative side to everybody. Forget the beats and the sweat and the billowing anthems; this quiet, undulating, at times pastoral piece is less about songs and anthems and more about texture and atmosphere. 'Scene Delete' is a side of Sasha you've never heard before. I love post-minimalist modern classical, I love to listen to something completely different that's quite hypnotic as well. It almost purges the system.

About three years ago, my collaborators David Gardner and ThermalBear and I wrote a song called 'Bring On The Night'. I sent it to Ultraista and within a few days she sent it back with this amazing vocal on, with Nigel Goodrich playing keyboards. We tried to do club mixes but we just couldn't get it right. So it sat there doing nothing.

Tracks like this kept building up, until finally last summer my frustration boiled over. We'd made so many tunes that I couldn't remember the names of half of them: What was that thing with a bass sound and a string line It drove me mental. At the same time as we were logging these tracks, I was listening to the Jon Hopkins' Late Night Tales and I thought a lot of the music we'd been working on was in the same vibe. So I sent the music over to Late Night Tales and they really liked it.

Initially, I thought we'd just do a Late Night Tales compilation with maybe a few pieces of my own music. But as we went through everything we'd worked on in the last two years, we realised we had about 50 pieces of music. So we started editing and compiling: 'Scene Delete' is the end result.' - Sasha, January 2016

Think of 'Scene Delete' as somewhere between a mix album, an artist album and a gentle stroll through the soundtrack in your mind. Make sure you switch off the lights before you enter.

Our friend Carli Löf - true musical genius, master producer of everything from rugged & raw grime scorchers to straight up Eurovision goodness - finally debuts on Barnhus, with nothing less than a timeless, laser-soaked rave hymn. On the flip we have our very own Pedrodollar Nordkvist flexin some serious remix muscle with your choice of contemplative comedown house and/or solemn ode to ancient trance gods. In the words of a friend-of-a-Scottish-friend: Oh aye - that's a fuckin 3am punch yer mate in the face with joy effort. Well intae this! Just out of jail after 20 years and first night out with the old crew. Take a few eccies and that tune comes on and you turn to your pal, put your arm round him all sweaty and say it's just like a remembered it. I'm gonnae be awrite.

This EP starts with Stitched", which begins by a rough & anxious introduction with a drone bass and a dissonance pad. Then a steamroller sub bass engaged itself into an insane run drived by a brushing arpeggiated synth and sharpened cymbals. College Road, the eponym track is a bright energetic trippy techno track influenced by house grooves & sonorities, for club use (not only). The last track Bkr is a live construct track with both hardware and software stuff to create a freaky bouncing groove. Can be played as main set track or as tool as well. Artist Bio : Born in Rouen, Normandy, the duo Easy Morph used to make people dance in clubs before they were even allowed to get in. Together since the age of 12, the duo experienced some emulation among themselves and with the music they cherish and collect, the electronic music and particularly techno. The logical consequence was the creation of the duo a few years later in order to exploit this connection, at first for dj sets and then for production. In their sets as in their production, they like to hear the rolling sub and the kick on time, a powerful and compelling binary techno punctuated by dark soundscapes, sometimes melancholic accompanied by saturated synths brushing against acidity. The duo met later the collective Peche Mignon,seduced by their project, their values and their love of music.

For its premier release, Division Point Industries is proud to announce a 4-track EP by Rolling Ones, a collaborative project featuring Johannes Auvinen (Tin Man) and Jordan Poling (Jordan). Rolling Ones finds its voice in the synthesis of each artist's sound, combining Tin Man's acidic melodies with Jordan's deep, textural pads. Debuting at the Division Point Industries residency at Bushwick's notorious Bossa Nova Civic Club, Rolling Ones marked their arrival by playing a DJ back-to-back set. Opening the record is '93' Mustang', a muscular, no-nonsense roller built around deep wells of warm bass and slick-piston percussion. As it builds, Tin Man's signature acidic squelch dances in the remaining space, giving the track a sense of both life and depth. Next is 'Faded Delorian', an abyssal burner that refracts its ghostly tones around a panning labyrinth of crystalline synths. On the flip is 'Slammed Cadillac', a sinewy, stripped down stomper of clattering percussion and caustic 303s. 'Jacked Up Impala' finishes the record as a jacking acid tool. Founded by Jordan Poling, Division Point Industries is a new label built on the success of a collaborative residency with Cory James at Brooklyn's Bossa Nova Civic Club. Having hosted artists ranging from the established to the underground, Division Point Industries has crafted a no-nonsense take on deep house and techno that is rich in history while remaining focused on the future.

Completing a quick fire trio of new EPs, Constant Sound hits release number six with a pair of new tracks from VRSION that come with a dance floor friendly remix from Persuader. VRSION is a German producer who has already made a big impact with his release on Craig Richards' excellent The Nothing Special label. Following up that in fine style is the opener here, 'Torn', which is a hurried and urgent track that sits on the divide between house and techno. It is driven and slick, rubbery and hypnotic but has plenty of nuance and funk in its well programmed drums. Some occult sounds and wordless vocals embellished the whole thing and it really is the sort of track that blows dance floors apart and will stand out in any set. 'Capricorn Meet Leo' then toys with kinked drum patterns, rattling percussion and fathom deep bass that sucks you right into VRSION's world. It's a restless place where harmonies ride up and down the scale, cause claps come at you from odd angles and dark vocals add a sense of paranoia. Remixing this one is Persuader, who does so with a stripped back sense of restrain. he retains the original's weirdness, but layers in serene pads and tripped out atmospherics that really make it ripe for playing at 4am. This is the most adventurous release yet for Constant Sound, and is sure to prove one of its bets as a result.