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Mgun, Or Manuel Gonzales To His Friends, Has Long Been A Fixture Artist For Dba. Since Making His Uk Debut On The Label In 2012, Having Already Featured On Detroit's Celebrated Wild Oats Imprint, He Has Smoothly Yet Slowly Progressed Through The Presses Of Fellow Dance Music Tastemakers Third Ear Recordings And Kiev's Wicked Bass. Following 2016's Warmly Received 'gentium', 'axiom' Finds Manuel Gonzales Back On Dba With An Index Of Offbeat Jams That Couldn't Have Emerged From The Mind Or Studio Of Any Other Producer.

Once More Envisioned And Engineered In His Native City Of Detroit, The Record Finds Mgun In More Auspicious And Domestic Circumstances. Now Firmly A Father And A Homeowner, 'axiom' Allows Gonzales To Flex His Party Muscle, While Further Pushing The Elastic Boundaries Of His Notoriously Unpredictable And Brilliantly Raw Production Style. Across Twelve Tracks, Listeners Are Offered An Unpredictable Trip Into The Restlessly Experimental Snatches Of Studio Time Gonzales Is Afforded Away From His Day Job At The Legendary People's Records Store. It's Here That Gonzales Absorbs Endless Releases And Rediscoveries Passing Through The Stock, Trading The Occasional Tip With Some Of Detroit's Best Known Producers.

Beginning With The Off-kilter Funk Of 'you Inside Me', 'axiom' Expertly Toes The Line Between Full-bodied, Soulful Club Weapons ('you're Never Home', 'nichrome'), And The Sort Of Lo-fi Tinged Jams That Enable Gonzales's Unusual Weirder Hooks And Rhythms To Extend Into Something Altogether More Hypnotic And Psychedelic ('kartwheel', 'sil').

There Are New Sounds And Approaches Throughout. Centrepiece Track 'see It For Myself' Finds Gonzales On Vocal Duties For The First Time, And The Dystopian Tinted 'vap' Finds His Sound Expanding Into Weightless, Dreamlike Electro. And While Certain Tracks Date Back Years, Having Slowly Matured To Full Funk, Others, Such As The Gloriously Unhinged '359' Were Rapidly Produced To Capture The Inspiring Energy Of A Late-night Glaswegian Rave.

Simply Put, 'axiom' Does The Work Of Representing Mgun At His Musical Best, An Analogue Celebration Of Pure Party Potential.

Side A a long electro track from BRZ arranged with happy and positive elcetro vibes , BRZ is coming from the Tekno scene and produced this track exclusive for UMX
Side B starts with an offbeat electro track from Paulus8 , this track takes you to another world . B2 is a dark vibed electro track from Ocitin , this onwe will blow you of the dance floor

Having recently relocated to the remote redwood forests of Northern California in order to set up a satellite mixing studio for his old stomping ground, Glasgow's Green Door Studio, Sordid Sound System returns to Invisible Inc with 4 cuts of Psychedelic Dungeon Disco.

The EP opens with his most blissed out track to date 'Die Ewige Nacht', an eight and a half minute inverted sun ritual based around shimmering cascades of dubbed up electronic percussion and an overdriven tintinnabulated FM arp.

Hi-NRG meets 80s B-Boy electro on 'Crescent City' with a careering off-road excursion into tripped out mutant carnival cavalcade territory.

Dia De Muertos's offbeat eerie percussion and driving low frequencies are met with spectral buzzing melodic refrains from the furthermost reaches of a decaying Oaxacan cemetery.

The acid drenched ambient lullaby 'You & Me' brings proceedings to a fittingly fucked up close.

Sordid Sound System's last release on Invisible Inc, 2017's 'Fear Eats The Soul', received plays and praise from the likes of Manfredas, Trevor Jackson, Sascha Funke, Optimo's JD Twitch and Thomas Von Party.

Delivering Verse III, Synthek concludes the first trilogy on his newborn imprint STK, showing once again is unrestricted approach to modern techno, which spans from bleeping offbeats to more stompin' and melodic tracks. 'Distress Mode' opens the record with a slow and solemn intro, ripped off by broken beats and obsessive bleeps, which escalate quickly into sonic madness. 'Diverse' closes the Aside with a somehow funked out mood, sounding causal at first, but recomposing once hihats break in, into a slick syncopate cut. The flipside is definitely more club oriented, opening with 'Reflection', where heavy beats and haunting melodies build up ceaselessly momentum. Last minimalistic cut : 'The End' finalises the release with propulsive rhythms designed to twist the dancefloor.

COUMLTD001 is the first vinyl edition from COUM Records label. To start this limited the edition of 300 copies. Dead Sound & Videohead are in charge of Bar Brawl EP. A side is composed with two powerful offbeat tracks with industrial reminiscenses. The B side is for remixes: the Canadian duo Orphx is the first one bringing 7 minutes of rude and savage techno. To close the release, the mythy spanish industrial group from the 80's Esplendor Geometrico, remakes "Torn" to a noisy rhythm hypnotic track.

12 stamped w/label, black sleeve, 180g Vinyl, 300 copies

Parallax 03 - This upcoming release on Parallax features two fresh cuts by Yogg on the B-side, and the first taste from his new collaboration with another Tel-Aviv based producer -Pharaoh. 460 is a 10 minute run of subtle deep atmospheres and flucuating dub sequences. For Now shows Yogg's more violent Techno style with it's accentuated offbeats & industrial leaning patterns. Oo-oO brings this one to closure on a quite but powerful note, with a more lush texture and subtle serial sequencing.

On November 13th, PNN Records will release the debut album of its most enigmatic artist,
myr. 'Diamondbacks Make Wonderful Pets' is more than just a strange name, it nine tracks represent an exciting evolution in myr.`s trajectory as an artist. Following his debut EP 'Nobody knows Avalon' myr. seems to have dug deep and discovered another level to his sound. Each of the tracks on the record are confidently offbeat and precisely composed.
'A Little-Bitty Bowl (with B.Hotton)', mixes thunder sound-effects with glitchy synth bleeps, layering them above darker tones which build to a perfect storm in the middle. This 10 minute track fails to get boring and is representative of the album as a whole. myr.`s ability to carry off strange hybrids is what makes his music unique. From the ghostly warbles of 'I Think I Hear Them Coming' to the sunnier sounds of 'Eleanor', myr.`s disregard for the norm has lead to an exceptional record that surprises at every turn.

Bas Mooy returns to the Planet Rhythm imprint with a strong EP for the PRRUKBLK series. Ranging from the offbeat influenced 'Mannik' and the doomy loops of 'Stitches' to the uplifting peak-time dancefloor killers 'Toorn' and 'Fields', Bas Mooy delivers four solid techno tracks exploring the dark depths of techno

180gr! This 12" features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.
London based jazz appassionato Sean Khan, will release his second album 'Muriel' later in 2015. Dedicated to the driving force behind his musical career, his mother Muriel McGinley, the album is virtuosic free, Latin and nu-jazz experimentation, drenched in soul with the help of the vocal talents of Omar, Sabrina Malheiros and Heidi Vogel (Cinematic Orchestra).

This 12' features remixes from Henry Wu and Ben Hauke, two rising South London natives whose dusty house sounds are reminiscent of the jazz-wise swing of the West London broken beat sound, a movement Sean Khan himself was heavily involved in.

On the A side, Henry Wu, a key member of the tight-knit label/ loose collective 22a Records (also home to the likes of Mo Kolours and Al Dobson Jr.), imbues the original track with a distinctly organic and off-kilter groove: a loose and earthy quality which is hallmark of the Wu sound and makes for a perfect complement to Khan's delicious melting pot of jazz, soul and broken beat flavours. Sturdy yet swinging with strong jazzy synth stabs and topped with a child-like, wordless, sing-along vocal, it's sure to be an underground summer club hit.

The B Side sees the mysterious Ben Hauke, whose previous releases have been courtesy of Melodica Recordings, steep Khan's 'Things to Say' in his own murky yet soul-drenched sound, one that falls somewhere between hip-hop and broken house. Not much is known about this young producer, but what we can glean from his work on this remix is a sound drenched in syrupy, slightly sinister keys and a plodding, unpredictable thump not entirely dissimilar from previous Far Out remix contributor Theo Parrish. Like the work of that Detroit innovation, these two young Londoner's contributions both look set to lend a funkily idiosyncratic and offbeat edge to all the right dance floors.

Following a three year hiatus from Cadenza, the label is delighted to welcome back Felipe Valenzuela and Dani Casarano for a third release on the Luciano's imprint. Both producers are respected individually for their prowess in the studio and as DJs, but as a combined force collaborate with magical effect in the studio. Together the pair run Melisma records and considers each other as musical soulmates. The pair's familiarity with dance floors across the world is reflected in these two tracks for Cadenza, continuing the labels rich musical history of electronic dance music fit for all purposes. 'Instinct' opens the release with an instant bubbling groove, supported by a groovy bass melody, crunching claps and shimmering rides, dancing around the tracks core rhythm. Subtle drum edits, reverberating snares and warm pads grab the listener's attention, whilst the tracks central rhythm maintains the pulse and lively feel of this exceptional production. A versatile slice of intricate house music that will find it's way into many sets this Summer. 'Impulse' sees the pair venture into more avant-garde territory; exploring themes of dissonance, syncopation and tension and release. Lo-fi electronics and discordant pianos notes create a unique pallet of sounds responding to each other. Offbeat string arrangements and shimmering synths evolve over the 14+ minutes track duration. Perfect headphone electronics with stacks of detail and fresh touches.

DVA started off Hyperdub's barrage of albums in 2012 with his brilliant 'Pretty Ugly', and now closes the the year with the 'Fly Juice' EP's bumper selection of machine tooled tracks, each created for optimum dancefloor damage and road tested by DVA, Kode9 and a select bunch of DJs. These four tracks are a brilliant example of what he's been describing as 'power house' for a while, a colourful chunky techno sound that switches up every 8 bars like grime and has plenty of shuffle and offbeat swing as a counterpoint to the 4/4 drums. 'Fly Juice' opens with sweet jazz funk Rhodes before dropping into weightless bouncey chopped vocals and stuttering drums building through 8 bar patterns - with the Rhodes as a sweetner, it's bliss! 'Do It' runs a stuttering voice, a huge deep bassline and relentless building stabs against shuffling drums. On 'Walk it Out', the repetition of the title over a pummelling two note melody is positively dumb, but pitched against swirling effects and whooshing chords the effect is epic. 'Long Street' features a collaboration with South African producer Big Space, and echoes the sound of early UK bleep and bass with a stern melody, breaking down into swirling Detroit-like chords, while shuffling along on a crisp, scissoring rhythm. After the sweet and sour songfulness of his album 'Pretty Ugly', the 'Fly Juice' EP shows DVA returning to his dancefloor roots. As an amazing DJ/producer, you can expect more of this in 2013.