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*This is the second solo album from Ken Camden who lives and works in Chicago. He also plays in the Implodes sound quartet. *Space travel is the dream of many and the reality of few. Since Yuri Gagarin rst shed the bonds of earth gravity in 1961, only about 500 humans have made the trip beyond the atmosphere. *Ken Camden travels to space while still grounded on terra rma. His vessel of choice is a guitar and some effects with which he journeys on fantastical expeditions and surveys the biggest territory of all, the one between your ears. *The glimmering sound elds he forms could be a soundtrack to an epic 60's science-ction lm, or a long forgotten grade school educational lm strip explaining how humans would be living on Mars early in the 21st century. *Camden's narrative rejects the dominant dystopian view of the future and posits that there are great voyages yet to be made in inner and outer space. *The album forms a gravity-free environment in which the listener is suspended, enhancing an aural excursion to the outer reaches of the musical Kosmos. *Press quotes for Lethargy & Repercussions: 'Transcendence achieved.' Tiny Mix Tapes 'It's an album that, although it's only been recorded once, feels forever embedded in the present tense when you listen to it.' Attn Magazine 'Ken Camden fuses the mystery of Eastern scales with Krautrock and Karl Stockhausen inspired themes, yet his sound remains futuristic.' Bearded 'Awesome record of shimmering, electronically modied solo guitar music. The pulsing, gated rhythms do have a certain (k) / (c) luster that reminds me of Achim Reichel and / or Steve Hillage, but the sound- palette is decidedly contemporary, with endless synchronized delays & comb lterings making the proceeding just so rich & dense.' Keith Fullerton Whitman *Track listing:

Vinyl Exclusive Version Vidis brought us a handful of hidden gems last year. A selection showcasing the under-estimated and often overlooked Lithuanian House scene. After months of sifting and sorting, Vidis came to what has become 'Silence Please!' - a 14-track compilation that surprised many and turned more than a few heads with a unique taste of Vilnius House. We now present a very special vinyl edition - featuring tracks hand-picked by Vidis, tracks he felt deserved a wax debut. Vital Sales Points: - A sampler showcasing some of the nicest tracks featured on Silence Please! compilation - Includes dance floor destroyer Mario & Vidis - Warung (Downtown Party Network Remix) - All the tracks have never been released on vinyl before

[B] A2 | Mario & Vidis - Warung (Downtown Party Network Remix)

Back in stock!

Some friends think that Shihab the man owes the balance of his soul to his beautiful Danish wife. They may be right; for Eros is the very essence of what Shihab plays.Yet Eros is a god with many a face. A tale of tender mournings Shihab's flute is telling in MAUVE - a piece that translates its title into delicately changing colors of sound. In UMA FITA DE TRES CORES he has his instrument wooing with the proud self-reliance of Latin grandezza. Calmly, softly, almost blandishly Shihab blows the solo flute in the Jimmy Woode composition MY KINDA WORLD. Serene and somewhat playful his own title ANOTHER SAMBA comes along - a most uncommon composition by the way: lasting for sixty bars as if growing independent out of itself, with solos that appear to be additional spinnings rather than improvised choruses; and yet; a perfect, self sustaining melody no element of which is superfluous. In the last of the pieces for flute, in Klook Clarke's THE WILD MAN, which is based on a flourish of trumpets, Shihab for the first time reminds of the sombre, the demon-like face of God Eros. He contrasts flawlessly intoned passages with challenging phrases, phrases raucously sung into the flute - really, he is a 'wild man' who is playing like that. This raucous challenging sound prevails throughout the four baritone-titles ('Shihab never withholds long to caress', Campi says). Shihab blows the instrument the same way he speaks: without any delay, directly coming to the point. And he treats it like a voice, not aiming at an artificially homogeneous sound in all the registers, but at their different modes of expression. In the high pitches the horn gains a brilliant tenor-like quality - for instance in PETER'S WALTZ, dedicated to Shihab's son Peter, and in Kenny Clarke's simple drum fills comprising theme JAY-JAY. In the deep register Shihab produces snotty sounds filling lady's ears with horrors like Pan - thus in JAY-JAY and in the boppy blues SET UP . Shihab's sense of a scurrilous humor breaks through in SEEDS (which reminds of the West-African heritage of jazz with its multiple rhythms and its renunciation of harmonious development - only the eight bars of the bridge base on a progression of chords): not only does he omit the notorious bombastic chord by the ensemble after his own final cadenza, he even ends with a minor second above the keynote. Seems as if Shihab now unrestrictedly conveys to his music all the experiences and emotions he formerly did not deal with in a musical way. Shihab the man need not be disturbed so that Shihab the musician may improvise passionate choruses. It would be unjust, however, to forget the choruses of the four other musicians for those by the 'born leader'. Francy Boland, taciturn and always introverted: he plays an extrovert, a masculine piano. Even with spare single note lines he produces a piercing and ringing sound that hitherto nobody except him has discovered, a bluesy sound bespeaking the very element of frustration that lies within the title of the trio number WHO'LL BUY MY DREAM. The unfailing feeling for rhythm the musicians of the CBBB praise with the arranger Boland, becomes manifest in the piano solo on SET UP. Francy's improvisation is rhythmically styled in a Monk-like manner, and yet no accent could be set differently. Maybe this is the secret of the Shihab-Combo. 'Rhythm is our business', this credo of Jimmy Lunceford could be the one of the five musicians as well. Sadi hits his vibes as dryly as if wanting to bring its ancestors to memory, the wooden chimes of West Africa's coastal tribes. To reach the fullest poignancy possible, he intentionally calms down even the resonance in MY KINDA WORLD. In UMA FITA DE TRES CORES Jimmy Woode bears out the crispy jazz beat against Sadi's Bongos and Klook's Latin-American percussion all by himself. Moreover - and that, too, is connected with the school of the Duke who was the first in the history of jazz to discover the instrument's potential as a melody instrument - Woode rips a marvelous counterpoint to the inventions of the other melody instruments, take for example PETER'S WALTZ. And then there is Kenny Clarke. Klook. On the entire record he only uses his brushes. Means by which different drummers only know to bring forward impressionistically blending noises: He drums a vigorous beat with them, fanciful fills, a solo, melodious and at once skillfully playing with cross rhythms in JAY-JAY. The 'born leader', the 'outstanding baritone saxophonist of modern jazz' (Joachim-Ernst Berendt), he could not wish himself different sidemen for this record overdue since some years.

BNJMN pops up with another splendid and relevant EP.. featuring a remix from Legowelt/Xosar combo, Xamiga. TIP!
Artistic inspiration can come in many forms. On his latest 12' for Rush Hour - his third for the label since 2012 - BNJMN was inspired by one of the wonders of nature, namely the curious combination of speed and grace that is the humble hummingbird.

'I was really interested in how hummingbirds have much faster wing speeds to other birds, so they can hover and fly slowly,' he explains. 'This seemed to tie in with some ideas I'd been playing around with, to create tracks that are fast and accelerated, but could also sound slow.'

'Hummingbird', the title track of an impressive four-track EP that's noticeably cleaner, crisper and sharper than his most recent outing for Rush Hour, 2012's Unknown 2, captures this idea perfectly. Propelled forwards by a lone, 140 BPM kick drum, its waves of crystalline synthesizers and picturesque melodies seem to gracefully hover above the stripped-back rhythm. It's intoxicating, exciting and calming in equal measure, whilst retaining BNJMN's usual dancefloor punch.

'At a club recently someone came up to me after I'd played 'Hummingbird' and said he didn't realise how fast he was dancing till afterwards,' BNJMN says. 'I was really pleased with that, because I'm fascinated with how the energy and tempo of a track can feel different depending on the environment you're in, and how you're feeling.'

He took the same approach with the EP's other original tracks. 'Slow Wave', with its relentless sequenced arpeggio, tumbling melodies and sludgy groove, performs the same trick of the ear, thanks in no small part to clever combinations of fast and slow elements. The melancholic 'CRVD', with its mournful chords and darting, techno-influenced grooves, is similarly schizophrenic.

The EP concludes with its most straightforward dancefloor moment, an inspired remix from Xamiga (AKA Xosar and Legowelt). Decidedly cosmic - like layered, melody-driven analogue techno beamed down from a distant galaxy - it delivers a deeper, hazier alternative to BNJMN's pin-sharp original.

Rogue Vogue has been making a name for himself as a producer worth keeping an eye on with releases on French Express and remixes on Deep&Disco & French Horn Rebellion. He's finally ready to release his next original EP titled 'Say You Will' on his new home at House of Disco Records.

'Say You Will' includes 2 originals that brim with the joyous side of 90's house backed up with 3 remixes from Dublin Aunts, LeSale and House of Disco's Sixth Avenue Express. The originals are in keeping with each other while each of the 3 remixes bring something new to the table.

First up is the title track, 'Say You Will' which is a hip swaying homage to the sunny side of 90's house with more hooks than a 'Hellraiser' film. Addictive vocal stabs and sax hits are the name of the game as this one will have you digging in your drawer for those stonewashed jeans you'd forgotten about.

The first of the remixes by Dublin Aunts has a day rave written all over it with an epic acid tinged bassline and clever vocal treatments. The second remix by LeSale takes a slower, sexier tip and just grows and grows, leaning heavily on the keys but also introducing some strings into the equation.

Next up is the second original 'More Than Enough' which samples a vocal that many will recognise and makes it his own. A lot of this originals charm is in the lower end and will come to life on the right system. A dreamy breakdown cements this as a track that you'll keep coming back to.

Finally the last remix of the package by Sixth Avenue Express ads a heavy dose of sleaze to the original with a swinging melody line. Choosing to do away with the dreamy breakdown and instead replace it with an dramatic, elongated and memorable dancefloor moment.

Markus Fix has been one of the early companions of Deep Vibes Recordings and we're happy to see him back with this stunning 3 Track solo EP. In fact this record somehow seems to close the circle between his early playful works and today's club sound. ' Wanna Let You Go' is a beautiful warm house track with a sweet piano line. What might seem like a perfect sundowner has potential to become a secret weapon for early morning hours too. Release your mind and let the body follow! Whilst speaking of that: ' Back On Earth' will make you jack! Pure energy, compressed to a juicy baseline. No more words needed. ' Reagy Dub' makes the round up and fills in somewhere between the two others. Warm up, cool down or open airs sun splash. Check out this diverse as beautiful record! Have a great summer! Yours truly, DVR.

Lee Perry's time at WIRL Records, later to be renamed Dynamic Sounds Studios, was a very productive time
in his career. A run of great singles and the shaping of a new sound, the beginning of what we know today as
Reggae .
Lee Perry (b. Rainford Hugh Perry, 28 March 1936, Hanover,Jamaica) began his entry into the music business at
the age of 16.Moving up to Kingston Town and working around various Sound Systems, before finding
employment at Coxonne Dodd's Studio One set up, in the late 50's early 1960's. Perry started out as a record
scout, organising sessions and supervising auditions at Dodd's record shop on Orange Street. Helping to make
hits for Delroy Wilson ( 'Joe Liges','Spit In The Sky') and the Maytals, which would lead to his own vocal records
released through Studio One.The musical backing for which, came from legendary Studio One house band The
Skatalites. Another important relationship for Perry, his first recordings with Bob Marley came in the form of
the Wailers, also providing backing, alongside the Soulettes who featured Rita Marley. Cutting such tunes as
'Chicken Scratch' around 1965/1966. This tune was also to provide him with one of his future nicknames
'Scratch'. A dispute over credits and money saw Perry leave Studio One and work with various producers
including Clancy Eccles and J. J. Johnson, before arriving at the door of producer Joe Gibbs in 1967. Here he
would write songs and produce hits for artists such as, Errol Dunkley and the Pioneers. A tune cut during his
time with Gibbs, voiced a snipe at fellow employee Dodd, a trademark that would become an outlet for his
frustrations in the business.This particular tune 'The Upsetter' would also provide another moniker and a name
for his label 'Upsetter'. Again lack of musical credit and financial reward saw Perry move on this time to WIRL
(West Indies Records Limited) Records, working alongside manager Clifford Rae, who would provide studio
time and pay for pressings in return for helping to promote and distribute WIRL product, which Perry would
carry out on his trusted Honda 50 motorcycle around Kingston town.
This period at WIRL saw some inspired work from Perry. 'Run For Cover' was another musical blow to a
previous employer, Coxonne Dodd and featured the Sensations on backing vocals and Lynn Taitt's guitar
picking skills. 'People Funny Boy' was a massive hit for Perry going on to sell over 60,000 copies. Joe Gibbs
would be at the end of this musical attack. Perry had felt Joe Gibbs had turned his back on him, after he had
provided hits for groups like, The Pioneers amongst others. The song would be one of the first records to
feature a New Beat (Reggae) inspired by the sounds coming out of a Pocomania Church, Perry had heard one
night.The congregation inside, wailed in a more slower way than the current musical style of the time Ska!. Perry
worked up this new style with Clancy Eccles, who would come under attack himself in 'You Crummy'. Their
closeness, which as detailed in that song would find them, 'Even shared the same Gal' but 'Now it's plain to see we
reached the end'. 'Set Them Free' was an answer record to Prince Buster's 'Judge Dread' (which had
featured Perry on it) a plea to the Judges in Jamaica that handed out extremely harsh sentences to the young
offenders of the time. The track was cut on the same rhythm as 'Run For Cover' . 'Django Shoots First'
inspired by the Spaghetti Western film of the same name, features Sir Lord Comic. One of the early DJ's who
used a jive talking style over rhythms. 'Night Doctor' was a hit instrumental that featured the organ talents
of Ansel Collins, that really push the tune along. 'Something You Got' was a cover of an USA R& B track by
Chris Kenner and 'Wind Up Girl' was cut at the same session. 'Water Pump' was a rude style track that
was cut later and originally released in 1974.As was 'People Sokup Boy' a later version of 'People Funny Boy'.
'Labrish' which means idol talk and gossip, was one of the first great talk over tunes that features Lee Perry
and producer Bunny 'Striker' Lee talking about the Political situation in Jamaica at the time and their own
financial situation and stories of various comrades.The track was originally released in 1973.
Bunny Lee would play a major part in lee Perry's career around this time and they were very close, often
sharing sessions and rhythms. Ironically it would be Bunny Lee that took over Perry's roll at WIRL and become
responsible for the labels products in years to come. Clifford Rae who give control to Bunny for a lot of the
WIRL product and even gave him his shop 101 Orange Street. So here we have a collection of music born out
of a time spent at WIRL Records and providing an important chapter in Lee Perry's career and indeed to the
story of Reggae itself.
Hope you enjoy the set.

Jeremy from Junior Boys collaborating with some Canadian modular synth masters on some great techno tracks ...
æ - Jeremy Greenspan & J Borys
ø -  Jeremy Greenspan
œ - Jeremy Greenspan, J Borys & Christina Sealey

*The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi's third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established.
*There's a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id.
*The producer's hand is prominent- not least in the sampled "yeah"s and "uh"s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like "High Living" and "Day One" show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, "So Many Details"- the record plays with darker atmospheres than we're used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter's return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist's essence.
*Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson's pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.
*Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011's Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking Out EP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he's worked since his debut, and Anything In Return is another exciting offering that shows he's still not ready to settle into any one genre.

Sister Label to Vanguard Sound Anunnaki Cartel plays host to the fourth installment of the Vanguard Sound Series featuring 4 tracks from crew members Dakini9 (Lola), Chris Mitchell, DJ. Spider, and founder Amir Alexander. During the time since Vanguard Sound Vol. 3 launched the Vanguard Sound label, the series has reached a kind of cult classic status among the most dedicated U.S. underground vinyl collectors. As more and more people discover Alexander and his Crew of ultra talented DJ/Producers, their releases on discogs disappear and then reappear for three to five times their original price. Buy on sight status is quickly being achieved by all six members of this shadowy Crew.

The four tracks contained in this release all touch base with the vibes already established by the Crew, while continuing to expand the sonic palette as well.
Amir Alexander's Cypher is classic dirty analog at it's finest. With a slightly overdriven synth baseline leading the way, followed by restless percussion. Midway through, deep and mysterious pads create a dreamy texture as a spoken word passage muses about loyalty to those you came up with.

Chris Mitchell's 213NL raises the temperature with Chris's signature "Phrenetic" drum programming under an SH101type acid baseline oscillating wildly as melodic strings soar.
DJ Spider keeps things gutter with some Vanguard/ Plan B style street knowledge in the form of New World Resistance. An industrial/ futurist tech beat frenzy full of vocals dropping science about the New Word Order's plans for global domination.
Dakini9 closes the release by taking us to the depths and beyond with her deeply emotive work in the form of Rollercoaster to Nowhere. Sci fi atmospherics weave in and out of lushly serene pads while her always deadly serious percussion marks the time effortlessly. Time travel is evoked as the dulcet tones erode all sense of the here and now. Fall into infinity! For the collector's, this one is not to be missed as it is a rare Vanguard Volume on it's sister label Anunnaki Cartel with both logos on one record. Don't sleep..

17 years after first releasing a cassette EP from label boss Marsel van der Wielen under his Peel Seamus guise, Delsin is soon to hit the landmark category number of 100.
Truth is, taking into account choice re-issues and specials such as the recent house series, there have already been scores more than 100 releases. Nevertheless, in that time the Dutch label has become synonymous with a wide range of timeless sounds from house to techno to dub to electronica, nurturing and championing some of the most respect names in the scene.

To mark the occasion, the label is to release five new various artist EPs (100 copies will be special, limited and coloured vinyl exclusively available through the Delsin web shop with a collector's box) that will be compiled onto one special CD compilation come the final release.

'After many different life cycles, with this compilation I try to go back to the core of Delsin, to showcase more otherworldly/dreamy/soulful but still raw techno sounds from a selection of key artists who best represent the label,' says Marsel. 'The tracks are all individual offerings but are tied together with the common themes of the label, and as a compilation will paint a nice overall picture that is not shy of moving away from the dancefloor side of things.'

Across the five EPs you can expect tracks from newbies and old favourites alike, including Sawlin and Delta Funktionen, John Beltran and Bleak, Redshape and Convextion and plenty more. The first - like all of them - features three tracks, one each from Gerry Read, Unbroken Dub and Claro Intelecto.

The second Lifesaver Compilation vinyl extraction including an extended version of Benedikt Frey's 'Sometimes' plus The Citizen's Band's 'Descend' and Portable's 'Nano Flower'.

Tigersushi surprise us and drop a new 12" from label boss, Joakim... 2 Gloriously Produced Tracks, As Usual...!
Almost 2 years have passed since Joakim released Nothing Gold. Not that he's been lazy. Those 2 years have probably been the busiest for the tall Musician/producer/DJ/label manager who produced numerous bands in his Fountain Studio in Paris (Zombie Zombie, Montevideo, Alba Lua, Acid Washed and more...). Joakim also did a few remixes (Aeroplane, Charlotte Gainsbourg, Lescop, Arsenal, Renaissance Man...) ans recorded a collaboration EP with Kindness that was the debut release on his new label Crowdspacer. Not to mention the constant touring, running Tigersushi records and a move from Paris to New York city!

Since Joakim has 4 hands, he also managed to start recording some material for a new album between 2 recording sessions and just before he had to move his studio out, he finished those 2 tracks : the slow, claustrophobic but hopeful « Heartbeats » and « Another Light » which brings that subtle typical melancholy to the clubs.

Now Joakim is setting up a mini home studio in his flat in NYC, somehow going back to his roots when he started making music at his parents house with a cheap keyboard more than 10 years ago. Usually in the music business, artists release a first single once the album is finished and start a promo campaign from there. But Joakim doesn't really understand the music business (don't tell anyone!), so he decided to release those 2 tracks without having any more finished material for his upcoming album nor an idea of what it will be like. In those times when everything is instant, he'd rather release new material leading to an album while the tracks are finished. Just like a work in progress you will witness an album taking shape before your ears.
This is a way to bypass the traditional rhythm of an album launch when everything needs to be done and ready months before the actual release, which usually results in the author being already bored and working on something else when the music comes out.

Hypnotischer Tiefgang kann auch hell und freundlich sein, wie Marcus Sur einmal mehr unter Beweis stellt. Die melodiöse Eingängigkeit seiner Produktionen schwingt irgendwo zwischen Deep House und Dub Techno, wobei er das Beste aus beiden Welten mit organischer Eleganz verwebt und mit seiner ganz eigenen Note versieht.
Da ist das stimulierende Pochen und entrückte Klingeln von The World In Small Doses. Da ist die hintergründige Dramatik und perfide Vielschichtigkeit von Masquerade. Da ist die verträumte Stimme von Ann Jasmund, die sich über den warmen Wogen eines wabernderen Klangteppichs ausbreitet. Und da ist der verspielte Basslauf von Magnetic Ribbons, dessen schwerelose Synthesizer- und Piano-Zitate Mollono.Bass zwischen die perkussiven Rhythmen seines wundersamen Frequenz-Universums entführt. Das dubbig glitzernde Original gibt es als Zugabe für die Digital-Version. Leicht verdaulich und doch sehr gehaltvoll - wie gute Musik für den Sommer sein sollte!

New Jersey based producer Jorge Velez returns to Echovolt under his brand new guise Bridge & Tunnel Kids with three tripped out, psychedelic journeys of the Detroit kind plus a remix by fellow 'outsider' Willie Burns!

DJ / Press Quotes
2012 was a prolific year for the New Jersey based producer Jorge Velez also know as Professor Genius. He recently spread even more his name with his 'MMT Tape Series' release on Rush Hour Recordings and the blinding sountrack-ish 'Hassan' album on the notorious L.I.E.S. from New York.

Jorge Velez and William Burnett joined their forces in 2009 and their collaboration tracks became the first release on the Echovolt label's catalog. Their debut EP came under the name 'PG&S - Motorik EP' and contained some freaky krautrock electronics.

After four years, Jorge Velez and William Burnett (aka Willie Burns) return to Echovolt. This time Jorge Velez delivers three tripped out, psychedelic journeys of the Detroit kind under his brand new guise Bridge & Tunnel Kids. This fresh Echovolt release is topped off by a remix by fellow 'outsider' Willie Burns with his unique sound signature!

with RV8, the osaka-based producer and musician AOKI takamasa continues his long-
term project that focuses on the modulation of rhythms and grooves. it began with his frst ep
‚rhythm variations' in 2009, released as part three of the unun-series. besides his collaboration
with raster-noton, he released records on several labels like commmons, progressive form
and op.disc, produced remixes for well-known musicians like ryuichi sakamoto or yoshihiro
hanno and played performances at, for example, elektra/montreal and club transmediale/
berlin, all in all making him a renowned producer in japan and beyond.
starting with a frework of bleeps and bops, already the very frst minutes of his new
record reveal aoki's preference for vibrating beats and likewise his playful approach to music,
generating a sound that is aiming at the dance foor.
like the frst ones, almost all tracks of the record are characterized by a constant modulation
of chords and lines that sometimes appears somehow hyperactive, but nevertheless results
in a natural fow that perfectly refects AOKI's laid-back attitude combined with his will to
produce danceable and funky music.
the fuent arrangement is only interrupted by the third track which forms a caesura by
being more reduced and slower. in contrast to this, the following tracks present a faster
tempo and an increased intensity; and whereas the frst tracks refect downbeat and r'n'b
infuences due to their broken beats and chunky sound, the later songs are characterized by
a more sleek and technoid style, incorporating dribbling basses, clappy sounding snares and
modulated voice snippets.
although all of the musical components are constantly broken down, modulated, and
rearranged, the overall sound of the record is dense and compact, featuring a groove made
up of numerous elements that are complexly intertwined. the eight tracks of the record ft
seamlessly together and create a composition that nearly functions like a dj set.
the album was mastered by yoshinori sunahara. needless to say that RV8 will be released
as cd and lp.
[A] a1 | rhythm variation 02 [B] a2 | rhythm variation 04 [C] a3 | rhythm variation 05 [D] b1 | rhythm variation 06 [E] b2 | rhythm variation 07

'Last summer I moved from Chicago to London, and this EP followed me through the madness!' Kate Simko tells us about how her sensual Get Physical debut, 'Lost In London EP' came to be. 'I started the songs in Chicago last spring, and was feeling full of ideas and urgency to get them recorded. I guess I was thinking that somehow things might be forgotten after all of the hustle of moving...' Kate has seen her previous releases span catalogues from Leftroom to Scissor & Thread. She has a solid following of vinyl loving fans - nearly all of her releases selling out in short notice. We expect 'Lost In London' to be no different. 'Then it was time to ship my studio by boat to the UK. It took about 6-8 weeks to arrive, and in that time I did a lot of exploring (aka getting lost) in the city of London.' By the time the studio arrived, I'd absorbed the sounds of the city and I think they came through in the music, especially in 'Lost In London'.' ''Closer feat. Jem Cooke' is the follow up song with Jem Cooke after our collaboration from last year, 'Go On Then' (Leftroom). We recorded the vocals at Royal College of Music; I think the musical vibe of the place put her at ease that day. She's an amazing person and her voice is incredible. So happy to have linked up with her.' Kate's groove and rhythm heavy sound shines throughout the release - from the chords of 'Closer feat. Jem Cooke' to the bass pump of 'Out Of Order'. We're super happy to have her on board, and looking forward to hearing more from her in the near future!

Alignment is back with its fist vinyl outing of the year for the main label. This time introducing 'Quartz' a production due hailing from
Cardiff. The pair have been making some heavy waves in the scene of late with their heavy gritty productions. A release lately on IM:
LTD has made the scene take note of what their about, now they present the 3 track EP on Alignment. Bone Marrow, Cut Deep and
the digital exclusive 'If Ever' will be available in early June 2013.
Support for the tracks already comes in the form of Doc Scott, Skeptical and Dub Phizix.
Also watch out for their remix of Traces 'Sonar' coming soon on 117.

As if our recent releases hadn't already been spreading the sound of Circus Company into new and exciting places, now our very own silver-tongued enchanter JAW emerges with the first details of his own autonomous project. Somewhere in between the electronic drive of his day job in dOP and the folky, organic instrumentation of Les Fils Du Calvaire, JAW shares with us a new venture that has thrust him into the studio with Lebanese musician Kevork Keshishian. After a chance meeting on the streets of Beirut, the pair struck upon a creative buzz and so "Hazihi Laylaty" was born. Translated as "this is my night", the title references one of the most famous pieces sung by the celebrated Egyptian singer Umm Kalthoum in the early part of the twentieth century. The dusty crackles and haunting strings that begin "Hazihi Laylaty" instantly call to mind the mystery and allure of traditional Arabic music, and the track as a whole fuses this spirit with a subtle wielding of modern electronics to create a thoroughly moody piece of pop-noir. Paying full respect to the complexity and consideration of the original version, both The Sorry Entertainers and Soul Clap embark upon unusual approaches for their remixes, managing to enhance the electronic elements in the track through more prominent production without losing the core ambience of Jaw and Keshishian's creation. JAW has been quietly working on a solo project for many years whilst also engaged with the relentless demand of his life in dOP, and now finally the time has come for people to hear the first snapshot of this venture. Bringing together a vast array of people, singers and producers from all corners of music, JAW's voice provides the glue with which a brave and boundary-l

Fresh from the success of the Guilty Pleasures EP by Satin Jackets & Ejeca, next up from the ever growing House of Disco Records is Finnebassen's - 'Baby' EP. Boasting make overs from Monitor 66, Ron Basejam and Debonair along with the original track itself, this is a vinyl with credentials that speak for themselves.

The EP opens with the original track 'Baby' from the Norwegian born producer Finnebassen. With previous releases titled 'Babies' 'Footsteps' and 'Bleedin out' I'm starting to wonder if there's some sort of subliminal message at work. However with the rate at which he's been outputting releases lately there are no signs that he has anything other than more music on the way. 'Baby' is not what we have become accustomed to expecting from Finnebassen, it strays away from his usual deep poignant echoing house tracks. Instead it's a rich funk filled gem of a track that he's shown he is capable of through his 'silly pilly edit' of It's gonna take a long time. With bluesy lead guitar riffs and his trademark bass line it's the perfect soundtrack for a blossoming summer season.

The first remix of the EP comes from Swedish trio Monitor 66 who produce under the ethos of creating ''music for sunsets.' The track certainly embodies that motif as gorgeous saxophone licks and chiming synths over a shifting bassline give it a deep tropical feel. Next up is the remix from James Baron, or as the anagram works and we know him as, Ron Basejam. His remix is more of a straight up boogie house track letting the echoing vocals do a lot of the work whilst being complimented by sprinkles of playful keys. The sliced vocals work a treat and he manages to maintain the tracks strong groove throughout. The final remix of the EP comes from London based artist Debonair who strips down the track into a deep atmospheric affair making it the perfect weapon of choice for an after hour set. Ominous kicks and the spades of tension and atmosphere will make sure that fists are pumping well into the early hours of the morning.

The whole EP is brimming with groove and if you find yourself missing Finnebassens deep echoing trademark sound from the original track then you can find essence of it in the remixes. This release speaks volumes for the trajectory of 'House of Disco Records' as a label that's constantly maturing and sidestepping pigeonholes.

All killer no filler on the new Legendary Sound Research release! We've got a split double A-side EP from The Saint Petersburg Disco Spin Club and head researcher of the label, The Legendary 1979 Orchestra.

SPDSC's 'Nightdriving' sounds like the soundtrack to an early 80s exploitation movie featuring crazy driving stunts! JKriv, of Deep & Disco fame, flips the track into a mid tempo piano driven stomper adding even more action to the scenes.

On the flip side, The Legendary 1979 Orchestra's 'Love Triangle Theme' is the actual soundtrack to the opening scene of the short horror film 'Matasari'. The track is moody and tensed but somehow liberating with its groovyness. Taking care of remix duties is analog veteran Ruf Dug. His take is reverby, atmospheric, sounding straight off a lost proto house tape.

Give the tracks a spin with the sun in your face or in a dark basement, you'll hear what they're meant for!

*A pure slab of noise... a ruckus on vinyl! A limited edition piece of wax featuring remixes by the Circus Records superstars Funtcase & Genetix.

*Funtcase has been producing since being inspired by d&b as a kid growing up in Bournemouth. In 2009 he created his dubstep alias Funtcase and released his first single on 4:20 Records. The following year he signed with Circus Records and released the killa 'So Vexxed/Matress Punch'. He is also known for his standout remixes, including mixes for Plan B, Camo & Krooked, The Wideboys & Skizm.

*For this remix Passenger organised Spyda (Pendulum 'Black Tarantula'/Knife Party 'Fire Hive') back into the vocal booth to lay down some fresh vocals for the remix. A former Passenger vinyl buyer, Funtcase is no stranger to the sounds of the label and adds his own nod to its history by flipping some breakbeat twists and turns to proceedings to create what many are saying is his best remix to date!

*The flipside remix is from fellow Circus Records crew members and Bournemouth badmen Genetix. Following a similar path to Funtcase, Matt & Rich started off making d&b before switching the tempo and laying down some filth at 140. With regular appearances on the MistaJam's radio show, guest mixes on KissFm for Hatcha and Crazy D and remixes for the likes of Bassline Smith & Drumsound and Kelly Clarkson, to name a few, these guys are continuing a south coast tradition of bass noise and terror.

*With the label instructions to 'make it as heavy as you can, Genetix took the vocal of Sporty-O, recorded at DJ Lethal's (House Of Pain/Limp Biskit/La Coka Nostra) studio in LA back in 2007, and brought it up to speed with a track that flips from militant dubstep into some proper 808 trap biz.

New release from the mysterious Ex-Pylon on Studio Barnhus. Shakes is a twisted, noisy 12 minute techno epic with razor sharp drums, acidic basslines and a daredevil breakdown, while Helmet comes correct with swirling pads from outer space and a deadly groove from deep within the core.
Some selected feedback:
Agoria - i looooooooooooooove helmet so much!
Catz N' Dogz - LOVE IT MORE THAN POLAND
Dave Aju - cool and trippy tracks... 'helmet' is a cosmic space jam!
Deetron - This is so so good, exactly what I needed! Lovely use of the samples in Shakes and Helmet reminds me of Co-Fusion, great EP!
Ewan Pearson - Shakes is great!
Ivan Smagghe - huge
Jacques Renault - Helmet is cool, I'm going to test it out for sure.
Jimpster - Another slice of gorgeous deepness! Both tracks are double heavy and going to be getting plenty plays. Nicely done!
John Talabot - loving shakes!!! SB love
Josh Wink - out there release. fresh and i like.
Robag Wruhme - Download for Robag /Robag's mom
Sandrien - Shakes is a cool trip!
Superpitcher - super!!
Tim Sweeney - Yes to techno!

It's been 10-years of blood, sweat & tears. perhaps that's what fuels their grunge tech energy. Bringing Madd Chaise back to the fore The Oliverwho Factory serve up some spiced up oldies (Rain 5th Wave Remastered & Touch Me Remix) along with the new bonus feature 2morrow. just the way we like it. deep, dirty and raw Detroit House!

Die beiden Jungs von Audision melden sich wieder zurück und ihr nächstes Release kann sich durchaus sehen (farbiges Vinyl) und hören lassen. "Chimes 1" wurde für ihr Live-Set produziert und hat somit bereits Reaktionen direkt von den Dancefloors einfangen können. Kristallklar klingen die Bells des neu im Studio integrierten Roland JD 800 und schwingen magisch im Raum. In der Vorbereitung für ihr Live-Set im letzten Jahr in Frankfurt waren noch nicht alle Maschinen auf Ursprungszustand gestellt und plötzlich meldete sich der JD 800 mit einem neuen Sound auf einer alten Soundbank. Die Maschine einfach sprechen lassen, ist ihr Motto von Beginn an und so wurde sofort die Record Taste gedrückt und es entstand "Chimes 2".

"Away" war der beatlose Track der letzten Erfolgs Single "Up & Away" (2012). Kein geringerer als Gez Varley aka G-Man machte daraus ein Tech-House Dancefloor Monster vom Herrn. Als Mitbegründer der legendären Kombo LFO (Warp Records) schrieb er zusammen mit Mark Bell Musikgeschichte. Als G-Man glänzte er als Solokünstler auf Labels wie Wir, i220, Force Inc. und nicht zuletzt Swim, auf dem er mit "Quo Vadis" die Clubs in den 90ern weltweit aufmischte.

Nicht weit entfernt saß im letzten Jahr noch Christiopher Rau. Der Tausendsassa ist in der Zwischenzeit von Hamburg nach Berlin gezogen, konnte aber vorher noch einen Remix beisteuern. Der Typisch, rohe aber immer deepe und warme House Sound aus den Kreisen der Smallville Familie, rundet die 12inch perfekt ab. Wir meinen ein Must-Have!

Tarvisium Electronique presents "The Tunnel", the new visionary project of the legendary dutch musician Orlando Voorn (Soma, Underground Resistance), for complete the EP Steve Lorenz (Synewave) has designed an amazing Detroit techno remix.

Unxpozd presents the 4th project from Dj Aakmael, 'Aak of Noise EP', giving you a straight up dance floor heater from the start! Up first is 'Just a Track pt 4' for the vocal heads, featuring classic vocal snippets that are sure to heat up any room large or small. 'Lush' is on the more chill side of the groove, giving listeners that warm, deep fuzzy feeling with a hard kick and smooth bass that matches the flow with ease. On the flip, 'Untitled 81' is an old-school style, Aakmael gives us a nostalgic sounding piece of art that also has nice dance floor potential. Closing the project is 'Soul of a Woman', that originally was a vocal track, however, now screwed and chopped as Aakmael decides to share this gem with the world. All tracks once again offers something for the hardcore listener/collector, and of course the DJ's that have a love for classic deep house and vinyl!

We just love those lil compilations here at Quintessentials, you know that. With the second part of 'Thank you freaks", we slow down the BPMs. And invite some freaks from around the globe to present their essential tracks. Like quality german duo Paskal & Urban Absolutes (again on Quintessentials!), Melbourne's finest Andy Hart (Melbourne Deepcast), the ever hot Ben Sun (with his current release on Delusions of Grandeur) and legend Toby Tobias. We say thank you freaks!

002 is coming from M.in (Desolat, Cecille) with two tech-house slammers
and big remixes from Pig & Dan (Cocoon, Elevate, Soma, Bedrock) and
RabaukeN residents Sebastian Phillip & Danito.

New Artist on Fachwerk Records with some deep advanced techno cuts. Limited to 300 copies! Comes including a solid Mike Dehnert Remix who takes a more dubby Berlin techno approach in a way only he can do! Dont sleep.

Alex Font is a serious guy who knows that now is his time. A multi-instrumentalist, as well as a producer and DJ, he can sometimes be seen on stage in trademark shirt and bow tie. He declares himself a lover of vinyl and, above all, what he calls real house. I think that says it all.

'NOW IS MY TIME' is the fifth release on the Oblack label and is available in black vinyl and digital. It is undeniable proof that Alex Font has arrived and is now a permanent force on the House scene, mainly in soul and dance, but who also knows how to reinvent his sound using new tech. Always with an eye on the future of sound innovation, he still manages to keep hold of his roots and respect his great influences. Well, nothing less would do. On this EP you can tell that Alex Font (remember, this is one serious guy) knows what he has in his hands and spinning on his turntable. His knowledge of musical composition, harmony and engineering skills jump out at you as soon as the first beat of 'Now is my time' hits the speakers: darkness, sophistication, soul and groove. There's a perfect command of tempo, of where, when and how. You pick up on the instrumental skills which allow him to do what he wants, when he wants. That's what's so great about this: you're struck by the ease of how such perfect technique and astoundingly good taste come together. Digitally analogical (or is it the other way round), this is the deeply profound vs. the dancefloor. It fascinates and liberates, carrying you off through different dimensions before breaking out of itself, with no need for artificial fanfares as it's so perfectly defined by Chicagoan pianos, hi-hats, funkoid vocals, etc. He's simply extraordinary: Alex Font signed by Oblack 005.

The remix by Martinez gives this track a technical edge and club splendor. Leaving out the more classic elements of house that are present in the original, the Swedish producer slows things down so that it doesn't lose any of its elegance, but at the same time the track gains punch on the dancefloor, and there's no doubt that it works. As cool as it is effective at inciting dance and everything else that comes with gyrating your pelvis in the early hours of the morning.

Finally, the Argentinian Shall Ocin plays the scoundrel here by adding diverse electronic elements that take the track into a new dimension. By giving the vocal more prominence, here it takes centre stage, and over a well-layered tech-house base, it makes the tremendous savoir faire of the original literally surf, while at the same time respecting and completing it.

In the end, it's great that you know that this is your time and that you want to share it, through Oblack and on vinyl, with all of us. Thanks comrade.

The unifying atmosphere of the latest PRRUK 12'' by Andreas Florin is a hazardous one. With sublime high pitched tones and soaring sidechained beats, this is a top notch dancefloor record with elevating elements which gradually blend into a perfect package. With the dominant sound being reminiscent and yet thumping this is an all round venture into techno music. Something for the collection as the sophomore package that's coming up is just as exciting as the first one.

*Winston Wright is another unsung hero from the Jamaican musical
cannon. Although many might not know his name, you will have
heard him on many records in your collections. When we say that
it was he who played that classic Hammond organ riff on the
1969 'Liquidator' classic, as part of the Harry J Allstars, we might
begin to appreciate his talents that bit more. But not only this, many
1970's classics carry his organ, piano and arranging skills and
even before that time, many tunes cut in the 1960's,as part of Duke
Reid's house band Tommy McCook's Supersonics, carried the

Winston Wright signature sound.

Winston Wright (b 1944 , Jamaica) began his musical career in
the 1960's as a session player and soon became an integral part
of the Treasure Isle Studio house band, that became known as
Tommy McCook's Supersonics . He played on many of the
Rocksteady era hits that Duke Reid ruled the island with between
1966-1968.His mastery of the Hammond organ made him an in
demand session player. One such was Harry J studio's that had a
massive hit in the UK in 1969 with 'Liquidator' as the Harry J
Allstars of which Winston was a member. The same year saw him
cut some great tunes as part of Clancy Eccles' Dynamites.
The 1970's saw Winston Wright working closely with Dynamic
Sounds Studios' nucleus of musicians Cutting material for all the top
producers of the time including numerous sides for Bunny 'Striker'
Lee, which we have focused on for this set of tunes. From 1975
onwards Winston Wright was a member of Toots and the Maytals'
touring band, but we celebrate here his mighty fine studio work.
Adding his touches to many a fine rhythm as only Winston could
we hope you enjoy the set.

There has been much speculation about the significance of the Mayan system of timekeeping. Many researchers on the subject have verified that the Mayan long count calendar, which is only one of several advanced timekeeping tools devised by the Mayan people, comes to an end on December 21, 2012, with no real clear explanation as to what exactly that signifies. Some have speculated that it was meant to point to a cataclysmic event that would end the world as we previously knew it, while others have hypothesized it to indicate some worldwide shift in consciousness around that time. This musical offering is not meant to speculate on the meaning of this date. Instead, it serves as a tribute to one of the most astronomically, mathematically and architecturally advanced civilizations in the history of planet Earth. Each track is a tribute to one of the many Mayan spiritual sites known to date. While only four of these temples are acknowledged in this recording, many others have been rediscovered and more are yet to be found.

If geography has an impact on music, then Vienna has coloured Tosca's music at every turn. Over the course of a career spanning two decades, the Austrian capital has inspired Richard Dorfmeister (of Kruder & Dorfmeister fame) and Rupert Huber to make electronic mood pieces coloured with Mitteleuropean melancholy.It's a bittersweet juxtaposition that is much in evidence on the pair's new album, 'Odeon'. It opens with the hazy strings of 'Zur Guten', which ebbs into the oozing keys and pizzicato steel string guitars of 'What If', which features a smokey vocal from Sarah Carlier. Lead single 'Jayjay' is a haunted combination of sombre piano chords, rolling drums and weird, otherworldly vocals from JJ Jones. It's the pivotal track on a record that sees Tosca tapping into gothic atmospheres. It's darker than their previous five albums, more downbeat, at times ambient. It's unlike anything else out there at the moment.Is there a reason for this sombre tone Nothing specific. "Obviously our music is influenced by our experiences of life - it couldn't be any other way - so in some senses it's a kind of diary, but there weren't any single incidents that caused the record to be that little bit darker," says Dorfmeister. If anything, the exact opposite is true: life has been good. "Over the last year I think we've both learnt to be more generous and to understand our own limitations and other people's" says Huber. A case of musical yin and personal yang, then.The album's name, meanwhile, comes from the venue in Vienna where Tosca debuted the new material in October. The performance went so well they decided it would make a fortuitous name - the music/place interface in action once again. The performance features as a bonus disc on the deluxe version of the album, which will be available exclusively via !K7's webstore. More than anything, 'Odeon' is the sound of a band at the top of their game. A good time for them to release a career retrospective then. Dorfmeister reflects on the band's history. "It sounds like a cliche, but we've never really thought about other people's music when we're writing our own," he says. "We try and create our own sound. We really have always been like that. And I think we've developed a trademark sound because of that." They certainly have. It's been called the "Vienna sound". And, in updated form, it still sounds like nothing else.
Double Gatefold LP with bonus CD of the entire album

Alex Niggemann's 2012-defining long player 'Paranoid Funk' dropped in June to a rapturous response from DJs, dancers and home listeners alike. Here, Poker Flat Recordings revisits some of the exceptional highlights of that record, and deliver a remix package sure to be as equally sought-after by those in the know. 'Paranoid Funk' saw the Berlin resident explore a variety of grooves and textures, an experiment that won him many new admirers and a great deal of critical acclaim. Here, some of the hottest remix talent in the scene get their hands on the originals and twist them into new shapes. Following on from releases on Cocoon, Kling Klong, Circle and two strong EPs on Poker Flat ("Dinosaurs' and 'This") renowned producers Alex Flatner and LOPAZZ take on 'Don't Wait' and drop a growling, main room monster that will standout in any set. Francys, the young Italian making quiet a name for himself on the underground house and techno circuit, lends his skills to 'Back 2 Basics feat. Benji' - channeling the spirit of the early 90s into seven ecstatic minutes. Next up is Salvatore Freda - the highly respected Swiss DJ and producer who injects Niggemann's 'I Don't Care' with a narcotic groove that sits somewhere between Detroit and Berlin - the dubbed out vocals adding an element of otherworldliness that work in perfect compliment to the track's twisted (paranoid) funk. Berlin's own Andre Lodemann picks out 'Lovers' for his excursion, a deep bomb that grows and grows around an exceptional vocal from John Rydell - this is one for the very late nights or early mornings. What is clear from this release is that Alex Niggemann's star continues to rise - the classical pianist turned producer and DJ extraordinaire is moving on to the next phase of his career - and with the slew of outstanding releases to his name already, who is to say where that could lead. Tracklist:

After last years Hyperdub debut with the popular 'Set The Tone' EP, Ossie's been busy building a name for himself, as a DJ and a producer with both Ossie and Black Orange Juice releases. He comes back to Hyperdub here with the 'Ignore EP', sporting two catchy, housey, broken beat bombs. 'Ignore' features the vocals of Tilz, singing about the game of winding up the opposite sex, over bouncy, broken drums, neat stabs, and a bendy acidic bassline, with wave-like chords building up and down as if in reflection of the cat and mouse antics of the lyrics. 'Find It' on the B-side makes good with layering some roughly cut up female vocal samples, Todd Edwards-style, but twisted and dubbed into strange shapes, incorporating sloppy, dusty drums and a bassline that sounds like Wiley's early eski beat melodies, keeping the track rolling along and sounding mischievous and chunky. This release continues Ossie's building reputation as a house producer with a very British sound.